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THEORY AND PRACTICE
MUSICAL COMPOSITION
BY
HEERMAlSr S. SAKONI.
NEW YOEK:
PUBLISHED BY MASON BROTHEES.
23 PARK ROW.
Entered, according to Act of Congress, in the year 1851, by
''
Entered, according to Act of Congress, in the year 1854, bf
MASON BROTHERS,
In the Clerk's Office of the District Court for the Southern District
of New York,
PUBLISHERS' ADVERTISEMENT.
great work to those who are at all acquainted with the musical lite-
The translation has been made from the third improved German
edition, and great care has been taken to follow the original as
thanks.
*****
Messrs.T- Edwards, Sandford, & Co., for
am
my warmest
has done his work very ^jrac&aWy and successfully; and I beg
also yourselves to accept the same, for the very elegant style of the
edition.
AUTHOR'S PREFACE.
most living and impressive truths, from which it should lead the
way to bolder and more joyous achievements. Both, however,
should be accompanied with that certainty, reposing on the con-
victions of experience, and that ardent desire for new achieve-
ments and progress, which, in my opinion, are the conditions and
characteristics of a true artistic life.
change of theory and practice, of law and liberty, of form and es-
sence, of melody and harmony — formerly,
still, as called con-
being able to say any thing new or important, but, as a duty, un-
assumingly to impart what I have to others. Precisely here,
however, is the insuflSciency of all writing to supply the place of
immediate intuition most strongly felt. Not books, but life, edu-
cates ; and only when life is quickened and wrought on by life,
the full vocation, the dexterity, the experience, and the capacity
of the pedagogue. Seldom as this many-sided fitness is either
found or attained, reflection will not fail to make us confess its
necessity.
form of the tune, the more able and diligent scholars —thus pre-
pared among the less gifted — will almost of themselves grasp
the next necessary, or next possible point, or understand it with-
out diflaculty from the course of lectures. The scholar is thus
kept from the beginning in artistic activity, — in the atmosphere of
his future life. The teacher also remains fresh and active, and
has no longer cause, either in his work or his meditations, to fear'
With single scholars, or even with two or more, who sit at the
teacher's side, and watch the movements of his pen, or who often
8 author's preface.
unexpectedly take the pen into their own hands,-^-to whom the
teacher must give advice, or instruct them how to proceed with
pecially in the greater tasks of the fugue and sonata forms, pro-
vided they have but one tenable position, may be taken up and
corrected at leisure, thus enabling him at once to perceive the
MUSICAL NOTATION".
PAOa
IHTRODUCTIOK . . 15
BOOK FIRST.
ELEMENTS OF MtTSICAL COMPOSITION.
Chapter I. The first Formations 1. The Tone-chain, with its Species, 63 ; Tone Reg-
:
ulation, 54 The Major Scale, ih. Analysis of the Scale, 66 3. Rhythmical form-
; ; ;
ner of arriving at it, ii. ; 3. Application, 77; Melodic Application, ii. ; Harmonic
Application, ib. ; 3. Harmonic Designs, 78 ; 4. The Cadmce, 79 ; 6. The Half-Ca-
dence, ib.
ifi. ; B. The Connection of Chords, 100; C. Harmonic Besi^ns^ ib: ;~ D. Faulty Pro--
gressions, 101; 1. Octave Succession (Consecutive Octaves), ib. ; 2. Quint or Fifth
Succession (Consecutive Fifths), 102 ; E. The Dominant Chord, 103 ; F. The Triad
of the Dominant, 105.
Chapter TIL The Accompaniment of given Melodies, 107 j A. Limitation to those
means which were found in the Ascending Scale, ib.] B. The Descending Scale, 109.
Remote Connection, ib. C. The Combination of Minor Triads, and of Minor and
;
Major Triads, 116 D. Harmonic Designs froiA adding the Dominant Chords 117;
;
1. The Dominant Chord preparing the end, ib. 2. Other Chords in connection with ;
Chapter II. Freer Harmonization of given Melodies, 122 A. Freer use of Triads ;
ib. ;
B. Free introduction of the Donunant Chord, 125 Freer Treatment of the ;
Dominant Chord, 127 Doubling of intervals in the Dominant Chord, 128 Covered
; ;
Chapter IV. Freer use of the New Chords, 157 ; 1. Major Melodies, 158 ; 3. Minor
Melodies, i5. ; 3. Licenses of the Dominant Chord, 160.
Chapter I. Modulation from one Key into another, 162 1. The Dominant Chord, ;
163 ; 2. The Nona-Chords, 168 3. The Septime Chord, ib. ; 4. The Diminished
;
TABLE OF CONTENTS. 11
Septimo Chord, 169; 5. The Diminished Triad, tft. ; 6. The Dominant Triad, 170 ;
Chapter II. Suspensions from below, 236 A means of Connection, 238 Fifths niiti ; ;
Chapter II. Chromatic Passes and Assistant-tones, 263; A. The Chromatic Pass, I'A.
BOOK SECOND.
THE ACCOMPANIMENT OF GIVEN MELODIES.
iNTRODUCTIOIf, 381.
Chapter V. The Canlus Firmua in other Voices, 831 A. The Cantus Firmua in the ;
Alto, 322 B. The Cantus Firmus in the Tenor, 333 G. The Cantus Firmus in the
; ;
Bass, 334.
Chapter VI. More and less voiced treatment of the Choral, 327 ; A. The Choral with
less than four Voices, i6. j 1. The Duophonic treatment, ii. ; 2. The fTriphonio
treatment, 328 ; B. The Choral with more than four Voices, 330.
Chapter VII. How to acquire facility in the Harmonization of the Choral, 331.
r.HAPTER I. The Ecclesiastical Keys, 341; A. The Melodic Point, a.; B. The Har-
monic Point, 342 ; C. The Essential Tones of every Key, 344 D. Admissibility ot ;
foreign Tones, ib. ; £. Transposition and Signature, i&. F. Modulation into other ;
Keys, 346.
Chapter II.The Ionian Key, 34T.
Chapter IIL The Mixolydian Key, 349.
Chapter IV. The Dorian Key, 350.
Chapter V. The aiolian Key, 352.
Chapter VI. The Phrygian Key, 354.
Chapter VIL The Lydian Key, 35S.
Chapter II. Plan of the Harmony, 381; 1. The Measure or the Quantity of the Har-
mony, ib. 2. Number of accompanying Voices, 364 ; 3. The Form of the Har-
;
mony, 366.
Chapter III. Harmonic Figuration, 367 Discovery of its Designs, t&. ;1. Monophonic ;
Chapter IV. Execution of the Harmonic Figuration, 370 ; A. The Harmonic Point of
View, ib. 1. Retarded Resolution, ib. ; 3. Octave and Quint-Succession, 371;
;
Melodies, 377.
Chapter VI. Passing-Tone and Bye-Tone, 379 ; Help Tones, 381; Trills, Turns, 8ic.,
tion of the Upper Voice, ib. B. Figuration of the Bass, 387 C. Figuration of a
; ;
APPBITDIX,
The Figural Prelude, 401.
ELEMENTS OE MUSICAL NOTATION.
Br THE
TRANSLATOB.
PREFACE TO THE ELEMENTARY PART.
SOUND.
We know, also, that Music is produced by the human
voice, as well as by instruments of various kinds — Flutes,
TONE.
We have, therefore, many different tones. The tones of
neral ;" for since every voice and every instrument can pro-
called its
DURATION.
We say, therefore, of a tone : it has a definite or inde
finite duration.
RHYTHM.
Where such regulation does not take place, the tones have
MELODY.*
A piece of Music can consist of a single tone-series, — it
is then called
TOICE .
HARMONY .
MUSIC
consist.
CHAPTEE I.
TONE SYSTEM.
This tone-system contains above one hundred tones. It
name for each of them ; and this has been the cause of the
DEGREES.
These degrees have been named
C—D—E— F—G— A—B.
And all tones have one of these names, or one derived from
them.
CHAPTEE II.
characters, called
NOTES.
It would be tedious for us to enter into the history of Mu-
eical Notation. We must content ourselves with communi-
cating the facts, that after many changes and modifications,
1.
called
LEGER LINES
are introduced, which, not being continuous, are easily dis-
those high or low tones, which are above the highest or the
1. —THE G-CLEF
has this form, fc
and indicates that upon the line inclosed by its lower circle,
placed upon the second line of the stave, and the notes pre-
il gab
s^s
FGAB CDEFGAB CDEFG
m
21
many additional tones upon this stave ; but since the read-
ted line :
8-
which, with the figure 8 before it, and the S succeeding it,
anon.
2- THE C-CLEF,
Its most usual form is this B , and its use is a three-
A, as Soprano-clef;
in which case it is placed upon the first line of the stave, and
' * A B
DEFGAB CDEFGABC
B, as Alto- clef.
As such it is placed upon the third line of the stave, and
:
the notes succeeding it are called
,jmm. 3
CDEFGAB CDE
^^B
V -i-
D z
E ^ « ^ =
22
C, as Tenor-clef.
As sueli it IS placed apbn the fourth line of the stave, and
the notes succeeding
6."
It is
1^
A
m B
it
DEFGAB
^-f?
are called
m CDEFGAB
:
^
.^wi-it^
exclusively upon the fourth line of the stave, and thus gives
to the notes succeeding it the following names :
23
8.
The above
appear 6hus
3:
^ =£
cient.
12. :c
m
:•:
m
-$ $
might be expressed in this manner :
all'Sva.
13.
fcti:
m
all'Sya. ,
m
25
his, — —quater,
ter,
n
X4.^
26
stand here for 1st and 2d, time, and thus explain the mys-
tery.
Fine, (end,)
take place.
C—d—ef—g—a—b c
A SCALE .
DEGREES,
and the distances from tone to tone, or from degree to de-
gree,
STEPS .
by the terms " whole steps," or " steps," and " half steps."
We find, further, that our scale contains five steps, and
fourth to the fifth, from the fifth to the sixth, and from the
sixth to the seventh degree, are steps ; and from the third
to the fourth, and from the seventh to the eighth degree, are
16, c
1
—e-f—g—a—
d
1 i 1 1 1 J
h-c.
30
,17.
i
but on striking these notes on the Piano, and comparing them
with our last diagram (No. 16), we soon discover that the
steps from the sixth to the seventh, and from the seventh to
the eighth degree, are different from our diagram. The e
and g are correct, but the/ is not what we want. Yet the
/ degree is necessary to make our scale complete.
as it were.
18.
It is
i
now a correct scale in every particular, differing from
ginal scale, and in taking again the fifth tone of our new
scale, d, one more sharp will be all that is requisite to make
the scale of D correspond with that of G. Thus the stu-
suming his task from the fifth tone of the last scale, he will
19.
rf; ^ J J
r
f-r^
Comparing the steps of this tone-succession with our dia-
gram No. 16, we find that while in the scale of G, it was
the seventh tone which required being replaced by another,
pearance :
20.
m
The elevated tones have
*=
the word
g
" sharp" afiSxed to them,
as/ sharp, g sharp, &c.
The depressed tones have the name "flat" affixed to
them, as h flat, a flat, &c.
Taking fifth above fifth tone to construct our scales upon,
would give us the scales of
C, G,D,^,E,B,Fi, Cit,&c.
Taking fifth below fifth, would give us the scales of
C,F,Bi>,E\>,Jl\>,Di, Gk
33
ai.
il FfaT.
iFLaTi
§FILOTini3 .l.fHfiilSI'.i
a scale. Here
22.
^^^^^^^^p^^m
is the scale of C, with all its intermediate tones. We have
written the ascending scale with sharps, and the descending
Chromatic Scale.
Diatonic Scale.
c l"
, ct and d b , cI and/, &c., are called
Enharmomc,
higher than the d of the same octave. But since under and
above each tone there are many lower and higher ones, this
Thus we have
37
INTERVAL.
We say, therefore, C and D form together the interval of
a second, G and D the interval of a fifth, &c.
But even this designation is not sufficiently exact, for we
know that each of our degrees embraces j/?De different tones.
^X, or ^1" , or g^^. They all stand upon the fifth degree
HALF-STEP,
and the
STEP.
We are now enabled to give an exact statement of the
or c d and
b (i b — d" . The third c — e contains two steps,
and dit — e.
Major, or
Minor, or
Diminished, or
Superfluous.
major interval.
When we once know, therefore, how large the major in-
interval. Consequently
39
c d is a major second,
c e
" a major third,
c—f b, — — fourth,
c—g b, — — fifth,
c—a b, — — sixth,
c b b, — — seventh.
* We must bear in mind that these intervals are merely major, as related
to the fundamental tone of the scale (c) . The other degrees amongst them-
selves form various intervals ; thus d—f and e—g are not major thirds ; f—b
is no* a major fourth, &c.
40
move.
This circumstance facilitates the task of intr^ucing the
student into the empire of tone-formations, without the risk
sibilities of combination.
called
distinguished
In both are the seven degrees, and they are
to each other
from each other by the relation of the degrees
degree iorms -with
and by the size of the interval which each
the first tone.
c d —e—f—g—a— — 6
c,
c —
d e t
—f—g— fit b —— b c.
Thus we find that the minor scale has the following steps
c d— —f—g— a — b —
e I" ^ c.
1 i 1" 1 i n i
The most conspicuous step in this scale, is the one from a •>
afiects us disagreeably.
,aa.
-S^
^^^^
43
23.
±>
>!. V. !fe
P w n
•where the superfluous second has been avoided, and it is not
and h l"
; but ./2-minor has the signature of C-major, and
D-minor has the signature of 2^-major.
Here
D, G, C, y, Bb, Eb.
But what of those degrees in the minor keys for which the
dental.
CHAPTER Vni.
RELATION OP KEYS.
be
RELATED.
We have just now seen that this relationship can take
place in a greater or less degree, according to the number of
tones which the two have in common. There are, conse-
quently, different
DEGREES OF RELATIONSHIP.
Finally, we have already seen several manners of connec-
parallel major keys, and with their own major keys. There
are, therefore, three kinds of relationship.
47
deviate from each other in but one tone, and stand in the
6 6 4 3 310133466
b
Q^^Dh—A\,—E\>—B\,—F—C—G—D-~A—E-'B—F!i
»
we find that each key has its two nearest relations as neigh-
bors to the right and to the left.
two tones. Thus X>-major on one side, and B !> -major on the
degree, for they differ from each other in but one tone. Thus
C-major and ./2-minor, C-minor and E b -major, are relatives
hibits to us
43
0-major, »
scale are its principal moments, and these three moments be-
long to the major scale as well as to the minor ; and this
D—e—f—g—a—bh—4—d—e—f —
—e—f—gl
g
—aa— — —d
a—h c d h c e
e—fi—g a~-b—c—di—e
F-major, Gr-inajor.
CHAPTER I.
^^
-•—#-
54
Vague tone-chains awalce neither the one nor the other sensation
but with a certain indecision remain between the two
distinctly,
knd have a share of either. Yet with all their deviation in detail
they can, in general, belong to one of the two principal species,
-»^J^
^=='^iir'ir7Zi
i 3c:
We have now only to add that the motion of " step by step'
is more quiet and even, while the skipping irregular motion i»
restless, unsteady, and nervous. But more of that anon.
Tone Eegulation.
The reasons for this choice will in a future chapter become ap-
parent of themselves.
The major scale, from its Tonic to its octave, rests upon the
Tonic,
i =i=«=
-gs:
i ir^r
or with imperfect tone-chains (not beginning, or not ending with
the Tonic).
m w - .0. m -
G B E F G A B C*
one one half one one half
* We suppose that every student of composition is familiar with tin
major scales but in case of the student's not being able to represent to him-
;
self such a scale at once, we refer him to the above measurement of th«
scale for assistance.
We know that on every tone of our tone-system we can construct a major
scale,and that all major scales have like proportions they all progress like
;
other leads to c, the Tonic ; both find in c their centre and juno
tional point.
G A £ O
_^
C B JS F
Even in this formation of the scale we find the Tonic the chief
point from which the other tones advance, to which they return,
and around which they move.
tone-chain and scale, and we have tacitly admitted that one tone
after another should resound. This resounding, however, can
happen at equal and unequal intervals of time ; and the latter
crotchets (quarter-notes)
i?
But this form does not satisfy us, because one tone like
the other passes by, without distinction. The longer we would
continue this chain of equi-long sounds, the more fatiguing and
confusing would it be to us. Our feeling urges us to distinguish
n
3.
The beginning has lost its emphasis, but the succeeding notes
and the satisfactory end remunerate us for it.
alike satisfactory.
And here is the time to remember a principle which should
lowing:
m
and we see at once clearly what has to be done.
wanting notes have to enter the vacant measure. The first of
The three
these can do so in the form of a quarter note; the other two have
to become eighth notes.
s
iw
We have now arrived at a formation which ccarresponds with
all our demands. It is
6.
P s -&-
59
m
We have now arrived at a tone
the Tonic, rises in pitch and
^ m mm
formation which, issuing from
rhythm to the Tonic of a higher oc-
tave, marks this point by a rhythmical pause, and then returns in
the same steady manner to the repose of the first tone. We per-
ceive also that this formation is composed of two halves (a and b)
which, each by itself perfect, combine to make the perfect whole,
a whole consisting of two subordinate wholes. But though each
of these parts or phrases resembles the other in rhythmical form-
ation and tone-contents, the direction in the tone succession of
each is exactly opposite ; the one forming the reversed counterpart
of the other.
Such formation, consisting of two perfect phrases, thesis and
antithesis, is called a Period.
8.
m
phrase are called passages.
Retrospection.
scale.
CHAPTER II.
'i w
A group ending more satisfactorily is in the latter measures.
If we
10.
».
^
are willing to resign a satisfactory ending, we can select
still more groups.
"•^w g
Such forms which contain the germ and the impulse of longer
Each junction of two or more notes
phrases are called designs.
can serve as a design. Every composition consists of such de-
signs, and it is for us to consider how we are to nurse these germs,
how to apply them, and how to multiply them, in order to arrive
continually at new phrases, passages, and periods. The invention
of these designs is already sufficiently prepared. The simple
scale has given us six, and every new formation adds to that
number.
Every design can be applied by itself
fi2
12. ^^^a
2. By repetition in a higher or lower range,
3. By
i p^
repetition in opposite direction.
i 5
4. By repetition in notes of longer or shorter duration (aug
mentation and diminution).
^j-jS
13.
By expanding
f P^3 by changing
6. or contracting the design ;
a smaller for a larger interval, or vice versa. '%-
i. e.,
-&-
^
".^^^^^
7. By combining one design with another, or more to a phrase
iw 1^
We need not mention that these different manners of applica^
tion can change with each other, or combine to a greater whole.
We can already see how inexhaustible the field of musical
formation is. We need therefore only show a few of these de-
signs, and leave it to the industry of the student to invent others.
63
2, FOKMATION OF PASSAGES.
•#-l<U-
ffi
The same design reversed would give us the following
e
16.
Were it
$ our object to
i
make No. 15 more
g
still light and flighty,
we could do so by beginning with the unaccented part of the
measure (thesis).
17.
i^g^s^
Availing ourselves again of the new ending and beginning, we
would be led to the following
18.
1^ a3 i
A combination of designs No. 15 and 18 would form an en-
tirely new design, and consequently a new passage.
19.
u m
The further practice of these forms and designs remains now
for the student. The advantage of this exercise consists in the
to his humor, design, and inclination — ^but retaining the good and
necessary, and not seizing the new without absolute necessity.
3. ^FOKMATION OF PHRASES. \
20.
W^
^
We might now attempt to repeat the most animated part
B
21.
This would leave us only one tone to fill the third measure,
and while the beginning of this phrase would appear very ani-
mated, the latter part would be the more dragging. This leads
us, then, to new formation in which the
a different species of
notes would be more equally distributed.
22.
E
s
This phrase gives us something new to consider. The rhyth-
mical formation has divided two different parts which are
it into
alike different from the phrases and from the halves of a period
thesis and antithesis. But while their rhythmical formation is
satisfactory, their tonical formation is not; for either they do
not begin or do not end in the tonic. We will call these form-
ations Sections, and thus we have to distinguish in a period which
No. 22 would give us
23. a b c
JJ -m- • ^
not only the thesis and antithesis a and b, but the sections a, 6,
c, and d, also.
65
Let us now return to No. 21, and repeat the principal design:
24.
a ^^
rhe same reversed would give us
S ^
25
^-
^^ ^ -s>-
26.
27.
i
D -#-
5
But here, in No. 27, we have already filled four measures with-
out arriving at the Tonic. We find it necessary to enlarge our
phrases ; we take four more measures and continue, perhaps in
this manner:
^S^^^^g^^
28.
—p -^ 1-
29.
and this would lead us to end the above phrase perhaps like this
^i^^ss^^
30.
31.
able the
^
tempt slow phrases of three equal sections or divisions.
consist of
:zz
in future for with the same right with which we have introduced
;
4. PERIODS.
^
:
32.
3
It will be advisable to observe at first, in these important parts
—the thesis —
and antithesis equality in the number of measures,
and to accustom the mind to order and symmetry, before attempt-
ing other, more free formations.
67
CHAPTER III.
33.
Ep=lEj £
and with it " the Triple Time."
The difference between this and former designs is, that in the
former ones every first note was longer than the following. The
same proportions can be represented in Triple time, and by this
s
34.
In our
^m^- first
^-
first note was as long as the two fallow-
design the
:?2=
from 4. to X-
35.
fe^a^^^
e,8
E
closing with what was once a chief part, but otherwise regularly
built.
a
4-4
notes.
A one,
We can, therefore, unhesitatingly change
and a a one into a
2a one. Even if
a a phrase into
Sk
in
37.
i^ 3^^^
means of expression which
vocal composition.
will
It is clear
become
that
particularly important
by means of ties and dot-
When we now
38.
^m m -&
return to No. 34, and analyze the design, we
perceive that the first note contains, or is equal to, two quarters,
consequently could be reduced into two quarter-notes ;
69
i^i
39.
or
il
we might
3;
^ir^-^
continue the division
SiiEt
still
m^
further, and reduce eacih
quarter-note into two eightb-notes.
«-pg^#j.^^;E^ =p=f=
41.
P Qm
zpi
42.
m :J_/-#
-a^*-al-
43.'
^^m^^^^H
Why have we taken a\ intead of a ? Because
1^ ~^-
i ±
^S
m^ m.
44.
¥--
45.
'^m^'^^^m^^
If we were inclined to make this interruption still more con-
46.
In the
^^ =K- ^^^^m
two last phrases we arrive at a new conspicuous forma
tion. The tone-chain is divided by rests into small tone-groups.
might be divided, 1, into thesis and antithesis (a, b.) 2, the thesis
into two sections (a, b). 3, each section into two links, (c, d, e,
f, g, h,
and i.)
^^^^^
and yet these few notes have given rise to a composition which
will claim the admiration of centuries to come.
But these simple formations serve also to facilitate the indis-
pensable acquirement of composing without the aid of any instru-
ment. It is here where the student can learn to represent to
himself, by force of imagination only, tone-formations of more or
less completeness. At a later point, it is impossible.
We warn the pupil, however, to guard against two faults. The
one is the deserting of the analogous proceeding, so strenuously
recommended, and the other, the losing sight of his object. If we
had produced No. 46 immediately after No. 31 or No. 5, we
should probably have obtained a good phraSe ; but the conscious-
ness of the how and wherefore, and the inexhaustible source of
analogous and legitimate formations would have been lost to us.
The second fault exhibits itself generally in the fact, that the
instance
A-ix.
i^^^^^
We finally advise the pupil not to confine his exercises to the
key of c major, but to attempt them in every major key ; and if
Second Part.
Composition for Two Parts, (Duophonic Composition).
CHAPTEE I.
It is
49.
^P^
not to be denied that this phrase is duophonic, it employs
But two such voices are mentally equal to one only ; for, thougL
both have the same rhythm and
in different tone-regions, they
tone-succession.
Yet this proceeding can form the basis of many monophonic
phrases. We can transfer the tone-chain of two voices to a single
one. Thus No. 49 would give us the following phrase
^m
:
50.
m
We divided the last half-note into eighths and quarter-notes,
73
52
^ J P^^^^fc
^
Such apparent polyphony will be particularly useful in orches-
tral composition and in the accompaniment of vocal music, but
will not benefit us much at present.
74
CHAPTER II.
W-
What we have here accidentally discovered is fully confirmed
54.
Of these,
55.
P
and g belong to the first mass
c, e, ; d and f, howev-
er, do not agree with its fundamental tone. The two latter,
exiled as they are from the first mass, unite very well with one
tone at least of it g —and form with it a second harmonic mass.
J^
56.
E ^ I
Our ear tells us that these belong together, and in the course
of our investigations it will be proved in another way.
When we now consider our present tone-group "we find :
111 1111 1
A
1
m
BE ^
57.
3=
-&-
i
w^ t3H
2 2
1. That only the five last tones are in the regular succession
the six preceding notes have neither the form nor connec-
tion of the scale.
2. That nine notes (those marked 1) belong to the first har-
monic mass, but passing all repetitions, the latter consists
only of the notes c, e, and g ; the same which our ear has
already chosen for us. These notes are placed very reg-
ularly —*aoh one a third from the others. The Tonic is
and was the beginning and end of the scale. Here we find the
Tonic again in the same capacity ; but this time it is supported
not only by octaves, but by the whole first mass, which latter we
shall therefore call " tonical mass," or " tonical harmony."
Opposed to mass we find, now, the second mass,
this tonical
58. -^-^i=t^
mT
r rt
r
This inclination of the second mass towards thefirst becomes
Melodic Application.
It is not merely the still imperfect scale, c, rf, e,f, g, which can
serve as a basis for our melody, but we can also use the succession
of all tones belonging to one and the same mass.
59
m ^ ^=
r-
It is plain that the first mass, on account of its regular con-
struction and its number of tones, is much more productive and
appropriate for a melodic foundation, than the second mass. But
in reality the melody of either mass consists of only three tones,
with their repetitions.
In No. 59 these masses have been used in their regular order,
i. e., either ascending or descending. This leads us to attempt
them in vague directions ; for instance, the first mass :
60.
Ml
^^
But the limitedness of our tone-group is always in our way, and
we find that repetition of tone or design and the development of
Rhythm will be necessary to produce variety of invention froir
such insufficient means.
Harmonic Application.
* Our first foundation for melody was the MajorScale ; here we have dis-
covered tine second foundation, the harmony, or the harmonic masses.
78
ment ; for, the higher sounds are, agreeably to their nature, more
prominent, and are melodically much better connected (No. 57.).
It is therefore our present object to accompany each tone of our
tone-chain by a second, lower tone, which agrees with the first,
^
for accompaniment ; reserving, however, the right to make excep-
tions whenever necessary. Below is the fundamental form of
Duophony.
M:
61. f?*
i-j-
ei
In the
r
first eight accompaniments we see the alternate change
~i^
of first and second mass, and after this they belong exclusively to
the first mass —though the y at the end might belong also to the
second mass.
Why at A have we not taken y, the nearest tone, instead of
e ? Firstly, because g had but just been used, and the repetition
of it would have caused an unnecessary stoppage in the second
voice ; secondly, because e in connection with c designate the first
mass much more distinctly than the g, which belongs to both
masses. The repetition does take place in the very next mo-
ment, but then it happens at places where the first mass, under
any circumstances, remains stationary, and where it can be done
without injuring that change of masses which we had in view.
Why have we commenced our accompaniment only with the
eighth tone ? Because then only we could safely decide upon it,
3. HARMONIC DESIGNS.
62.
-rrr
4. THE CADENCE.
We have discovered already that the first mass has taken the
place of the Tonic, or the Moment of Repose. The Tonic is the
principal tone of this mass, and is most effective in the upper
voice. We shall effect our cadences, therefore, with the first
63. ^ --^
^
unless we
r
resign the
r-
harmony and
T lead both voices into the
Tonic, as at b.
64. ^ g
ir
and call it a Half-cadence, while the first will be appropriately
CHAPTER III.
65. E d —- -& ^
-f- -=F
The beginning with the first mass lies probably nearest.
The thesis (a) makes its cadence from the firsj into the second
mass. The antithesis (b) makes its cadence from the second
mass into the first. The vacant space can be filled out according
to the general laws of Tone-succession, Progression, Harmony,
and Phraseology which we have learned.
And here begins again the practice, and with it the industry of
the student.
We might fill the thesis with the notes with which it began,
66. m if=x^y-x^x=^-
f-r r
but that would be insupportable monotony. Therefore we will
retain for the present the first mass, but not the -same notes
perhaps in this manner
67. E^ S ^
r-i r-r
This attempt is an improveriient upon, the first ; but the char-
acter of the melody is vague, and the rhythm is very monotonous.
We intend to animate the 1 itter, and the melody ought to have
82
68. ^ ;
--- ^
83
No. 68, and is repeated in. the second measure. We perceive, also
how the design of the third measure is repeated in the fifth,
Andante.
71.
^^Sfy^i^^gfef
CHAPTEE IV.
which parts for the present, are distinguished from, a single Period,
merely by the even more distant separation, and by the fact that
each strives to be considered as a different whole.
This leads us, then, to the simplest
TWO-PART FORM.
of composition, as we find it in many Marches, Songs, Dances, &c.
We have formerly already found phrases of a greater number
of measures (No. 30). Let us employ them for the two-part
form.
Each part strives to be an independent whole ; each ought to
have, therefore, at least the length of a Period — eight measures.
These are the regular dimensions, but we know already that they
can be larger or smaller.
If the first part is intended to be an independent whole, it
ought to have the most perfect form —the form of the Period,
with thesis and antithesis. But nevertheless, the part is merely
part of a larger whole, and, therefore, cannot have a perfect ca-
dence, but must let us expect the second part. It ends, therefore,
cadence of the Part would lose its strength, and the formation of
the whole part would be monotonous. The thesis can therefore
only be marked by a step from the second into the first mass.
This is a full cadence, but in order to make it less important, it is
72.
^^m^^^
If the first part has now become a perfectly-closed phrase, the
second part has the same right, only that the latter makes a full
and perfect cadence from the second mass into the first. If we in-
73.
-9-^
Itbecome? then our objeot to multiply our tonical meaus, aS it
were,by means of rhythmical tone-repetitions, tone-figuration, &c.,
&c. The following
fl: mj3
m ^_p=^fl
iW
?^
phrase may serve as example of a first part of three times four
measures, which has chiefly made use of tone-repetition. Only
the variety of the Ehythm makes such extension possible and
bearable. It is easily seen that the first eight measures contain
in reality nothing but the steps of the melody, from g up to c, e,
and g. It is only a decided and distinct grouping which can make
so numerous a tone-repetition comprehensible. We see that the
whole phrase falls into sections of three times four measures, a
and B, c and d, and e, f, and g. i
75.
m m pii^S^S^
^m^^^^mw-.
The thesis closes at a in the fourth measure. The whole ought/
to close in the eighth measure at b. Instead of this, the voices
proceed immediately, without giving the end-note its proper rest,
and with the ninth measure begins a repetition of the whole an-
tithesis. The final link, merely, might have been repeated
76.
S
a figured re-formation of the repetitions would also have been ad-
missible, — finally, the junctiou of the two or more repetitions
might also be possible.
To favor such Codas, it is advisable to make the preceding
cadence imperfect, — either by means of tone-position, or by vari-
ation or abridgment of rhythmical quantity ; the latter has been
made use of in the above. The oomprehensibility and simplicity
of the whole has permitted us to deviate from the strict propor-
tions. We have also introduced a kind of " leader" to the Coda.
Such Coda, however, premising the good proportions of all
parts, is not alone admissible at the end of the antithesis, or sec-
ond part, but it can also be employed at the end of a thesis.
This requires neither example nor instruction.
Retrospection.
With the aid of the two harmonic masses and the two different
cadences we have perfected the periodic form. The fiindamental
forms
Eepose, Motion, Repose,
Tonic, Scale, Tonic,
might thus be represented in the harmonic Period :
we find, that the first thesis belongs chiefly to the tonic mass,
and ends regularly in the same mass. It is the beginning of the
whole tone-development therefore the place where the design
;
The last view we have taken of the two parts in one mass,
shows us, that in spite of the separation of the first part by means
of a cadence, there are in reality three principal moments in ex-
istence. We might therefore easily divide the two parts into
three
Repose, Motion, Eepose.
First Part.
90
CHAPTEK V.
Since the two voices which we have used until now agree so
well with each other, the double duophonic composition seems
to be much more convenient than the trlphonic. But in order to
double our voices without confusioii, we will give to each of them
a different tone-region. Here, then, are our present means •
i
^^^
^m
77.
r J. .d.
e
f^
What do we gain by it 1 First of all, a larger and broader
volume of tone, if our voice-couples move in paraUel directions.
This certainly makes our whole tone-mass less susceptible of light
motion, and besides this, we h^ve gained nothing absolntely new
91
for the two couples move in equal intervals and direction ; but
this leads us to attempt
1, opposite directions,
2, different intervals of the volce-oouples.
"Wherever the masses change regularly, our voice-couples can
unhesitatingly move in opposite directions.
78.
m
^8 u tmm
frf ^?
We will call this kind of motion. Contrary/ Motion.^'
This and the former application of the double duophonio man-
ner are the most natural, because they are based upon the gen-
erallymost natural form of accompaniment (No. 61) of the duo-
phonio composition. In sincfle instances, however, the two voice-
couples might combine together in arbitrary intervals.
———
79. P
-
1=r
i s - i
m* ^
ei=F
voices through the two masses and their different intervals, while
the lower voices sustain the mutual fundamental tone, " the
Tonic."
81.
Ld
8v'a .
I
.
L=rrLd
.
ri &|-^-^
\J
m mu > 'Hi>
^^
When we add to these new formations
1. The doubled voices (No. 77).
2. The contrary motion (No. 78).
3. The arbitrarily-composed masses (No. 79), and,
4. The sustaining^iotes (Nos. 80 and 81) the double duo- —
phonic and the single duophonic compost, we have our
whole material before us.
83.
93
Application.
Third Part.
The Harmony of ike Major Scale.
CHAPTER I.
tlie other tones of the chord are regulated and designated by it.
The next note (e) is called the " Third" and the next one is
fundamental note, then the Octave, then the Fifth, then again the
Octave, and after that only came the Third, and again the Fifth.
84.
ir r
easily drowns the other intervals.
85.
r r r
-F
'-
—
97
.
-f
98
and its fifth. The third in each is a major third, and the fifth in
each is a perfect fifth, Tlte chords on /and ff
are therefore per-
fectly like the one on «.
* Nearest related or related in the first degree, are stioh major keys as
d-mate in but one tone from each other. major and Cf major for in- ;
stance:
1^
0, d, e,
f, g, a, b, c.
Cf, a, b, c, d, e, /j), g.
differ from each other merely in the / and/{(. major and jP major
f, g, a,
c, d, e, b, c.
f,g,a, bh, c, d, e,
f,
CHAPTER II.
second, and then a third tone under it. When we now consider
all the first (c, d, e, &c.), all the second {g, b, c, &c.), all the third
(e, ^r, g, &c.), and all the fourth (c, g, c, &c.), as separate tone-
chains, we find a phrase of
The highest and lowest voice (Treble and Bass) are called
' outer voices" the other intermediate voices
(Alto and Tenor)
are called " inner voices.''''
A superficial unity exists already in the fact, that all the notes
of these harmonies exist in one and the same scale. But this is
not sufficient, for we know that our second and third chords are
merely borrowed from other scales.
by the mutual g, —the third, fourth, fifth, and sixth chords by the
mutual c, —the seventh and eighth again by the mutual g. Be-
tween the sixth and seventh chords only this connection is wanting.
The connection of the second, third, and fourth chords is best
perceptible In the following :
-9 r
90.
C. Harmonic Designs.
Before we return to our subject (connection of chords) we must
101
nm
91.
rTfT^ r
The cliords of the Dominant and the Subdominant (/) have
no connection with each other.
This cannot well be otherwise, for we know that these two
chords have been borrowed from keys which, though each related
to the principal key, C, have no connection with each other,
D. Faulty Progressions.
1. OCTAVE-SUCCESSION".
the sixth to the seventh degree, bass and alto proceed from / to g.
92.
m
Ht
a separate voice nor a mere doubling, as, for instance, in the fol-
lowing :
W:
93.
BE
r
r r
Progressions like those of alto and bass in No. 92, are called
false oT consecutive octaves ; they give to the phrase an ambigu-
ous appearance, sound hollow from the tone-web, and rob it of its
full variety of voices. For the presentwe will absolutely avoid
them, though the time will come when we learn to make the right
use of them.
But how can we obviate the consecutive octaves in No. 92 ?
The bass was indispensable we had for a and b no other har-
:
inonies than the chords of/ and ff. The fault, then, lies in the alto,
because the alto, Hke the bass, proceeds from /to g ; this must
not be. We now remember that the chord ff-b-d, is in reality
nothing else than our former second mass, g-d-f. We might
therefore retain the /of the first chord in the second chord;
(7f= ^^
94.
for the present we will avoid them. In the above case the fault
consists in the progression of bass and tenor. The bass goes from
y to g, while the tenor goes from c to d. In the octaves we avoided
tliis fault by letting the first note of the tenor remain ; here, it is
clear that the c cannot remain, for it forms no part of the succeed-
ing harmony. But if it can neither ascend nor remain, it must ab-
solutely go down into the nearest note of the next harmony (J).
But the note d is now wantmg ! let us distribute, therefore, the
time-space of the chord between h and d.
w -JSZ
95.
ei
-^A
We have now avoided the fifths, and gained, besides, the com-
plete harmony. The former we have gained by contrary motion,
the latter has given us opportunity to give to one voice two notes
of the same chord, and thus to obtain greater animation. We
will call such notes, which enter after the other notes of a chord,
" harmonic bye-notes.''''
96.
m s :^-. ^
f^^^g -
but for the present we will adopt the one illustrated in No. 95,
because it is within bounds of our present knowledge.
notes ; ff,
b, d,
f. The fdurth note is the seventh of the funda-
mental tone.
We -will call our former chords, consisting of three Botes,
" Triads," of which we have at present three ; viz.,
d-f'^-a-c.
3. This chord reminds us of the second mass, and with it, the
Tonic and the around-it-moving scale. It is the completion of that
which was merely indicated in former formations
Q, a, b, C, d, e, F.
O, I),-F.
G, — B, — B,— F.
Its destination is ; to resolve into, the first mass, and all its
notes follow this current. Its fundamental note goes to the Tonic,
its third leads to the Tonic ; its seventh leads towards the Tonic,
and enters upon the note of the tonic harmony in its way ;
97.
its fifth goes most naturally to the Tonic, though the tonic third
is quite as near. But we prefer the^ former, because we do not
105
9a
W:
^
This proceeding of the dominant chord is called its " resolution,'"
and of any chord that absolutely draws after it another harmony
we say, " it resolves into" such chord or harmony.
With this we have at last accomplished the faultless harmoni-
zing of the scale.
99.
^-
100.
ii ":22r" 1=5
T1
not heard. We have the same sensation when the tonic triad
with its third as the highest note goes into the Subdominant triad
(c). An exception will illustrate this rule still better. Handel
often leads the third of the dominant triad downwards ; for in-
stance, in a chorus from -" Israel in Egypt :"
101.
^
^S
-4-W^
^aiiii
-U4-
^^^ rr" f- f-
and thus obtains a strange, piercing expression, which makes it
CHAPTEE III.
Our melodies, for the present, will have to be very simple and
contain the notes of but one major scale. To each note of the
melody we give that chord which we have found for it in No. 89,
viz., to the first, third, and fifth tones of the scale we shall always
give the tonic triad ; to the second and seventh that of the
dominant ; and to the fourth and sixth the triad of the sub-
dominant. But when the sixth note is succeeded by the seventh,
we shall avoid the threatening faults by the introduction of the
dominant chord.
In order to facilitate the finding of the chords, we shall indicate
by figures how
below the fundamental note of the chord is to
far
be found. We have seen in Nos. 89 and 99, that the Tonic has
for a fundamental note the lower octave, and mark it therefore by
8, above the melody. The second note of the scale {d ) has its
fundamental notes five degrees below ; we mark it by 5. Ac-
cording to this proceeding the scale of G major would be marked
thus
IS2Z
102.^
tj -a- ^ -
We see that the figures 8, 5, 3 are regularly repeated, with the
exception of the sixth and seventh degrees, which are both marked
by 3. It is the same point where we have discovered the differ
After this we find and place the fundamental notes, and then
the middle voices. As example we give the following :
This melody
5 3+3 83 5 83 55 3 + 3 8
^ zai -&—e>- 33
has fii-st been provided with figures. We have also remembered
the dangers by placing a f
where we are likely to encounter
them. Then we write the fundamental tones ;
104.
-e-
109
31
m^ -s-
-&
-&-
?-!!-
"25"
iE
zz^
107.
BE
no
The alto would have to ascend to a and meet -with the treble,
and the tenor would have to take/ But this would render the
chord incomplete, and tenor and bass would make consecutive oc-
taves from the third to the fourth chord (page 101),
, A second attempt can therefore only be made with the bass it-
108.
Ill
no.
OF -di 3±:
~:t±l
Ileie, too, we have altered our figures, avoided the wrong pro-
gressions, but lost the close connection of the chords. This loss,
however, considering the otherwise excellent connection of the
chords and the good progressions of the voices, may be easily
borne.
Comparing our new chords With the old ones, we find : that
though they are also triads, their contents (the intervals of which
they consist) are by no means alike. The former triads consisted
of fundamental tone, major third, and perfect fifth ; the new ones
{JE and A) consist of fundamental tone, minor third and perfect
fifth.We will call the former major triads, the latter minor triads.
We have now three species of chords, viz.,
1. Major triads upon the Tonic, Dominant, and Subdomi-
nant—in C major, upon C, O, and F. .
2. Minor triads, upon the third and sixth degrees of the scale
— in C major, on ^and A.
3. The Dominant chord, upon the Dominant — in C majof
upon G.
We can now already see one of the reasons which permitted us
to leave the triad after the dominant chord incomplete, i. e., with-
out fifth. The third suffices to indicate that the chord is a major
triad ; the fifth, which is no distinctive mark, can be most easily
dispensed with.
With this our actual mission is fulfilled. We can harmonize
the scale in every direction, and, consequently, every melody
which contains no foreign notes. Here is another example
8 E
111. 8 3+3 5 3^.3 8 5 3 5 8 3 5 8 3+3 5 3+3 8
-»-«.
I
1
m
-f
112
the sixth measure we have made use of the proceeding in No. 110.
The chords from the fourth to the fifth measure have no con-
nectino- tone, but since the connection of the chords is otherwise
well-established, we can let it pass.
&^^te-f^^=^
i
112.
i^i
Fourth Part.
The freer use of the chords at present in our possession.
Until now we have used our chords merely for the accompani-
ment of given melodies. Let us now see how we can apply them
independently.
Animated phrases, like those of the monophonio and duophonic
compositions (Nos. 5 to 74), would here be out of place. For, at
present, we know nothing. better than to write exclusively in tet-
raphonic chords, (in masses) and this does not agree with an
intellectually-animated inovement. A phrase like the following
Allegro
^to^ii
f=?
willdo very well for one. ox two voices (a or b) but it would be
drowned under the tone-mass of four voices, witld their bass walk-
ing along in wide steps (a).
Allegro.
CHAPTEE I.
HAEMOmO DESIGlfS.
115.
m -e&-
^_-^&-
116.
m
"S" "cr -z3-
the tonic triad. But we can soon perceive that the moment of
proper progression has merely not yet arrived. The second,
third, and fourth chords are merely repetitions of the first, and
-©<=-
117.
i -e-
A -<^-
118.
m -^
^ -&-
-&- -22-
"23" « "Cr
betweeen the triads of the Tonic and the Subdominant
120.
^ "Og""
EiE
-&-
&c., &c.
-(9- -%--
121.
""221 -&&- jSI
116
We have found two minor triads,' one upon the sixth, and an-
other upon the third degree of the scale. When we examine the
scale, we find that we can construct a minor triad upon the second
degree also ; for instance, in C major upon d : df-a. Thus we
have now three major triads ; upon the first, fourth, and fifth de-
grees ; and three minor triads :upon the second, tliird,' and sixth
degrees of the scale. Upon the seventh degree we can construct
neither major nor minor triad, for the perfect fifth is wanting.
It is now the question what independent use we can make of
these chords, of which, till now, we have used but two, and these
only from necessity.
In order to arrive at the solution of this question, we must first
examine their relation to each other.
It is clear that all the notes belong to one and the same key,
and that some have mutual notes among them, others not. The
triad of G is thus related with those oif g, e, and a ; each of the
remaining chords is only related with three others by means of
mutual notes.
As the three major .triads, represented the three major keys,
thus the three minor triads represent three minor keys, which on
examination will be found to be the, parallel keys* of the above
three major keys.
Each minor key, however, stands in the first degree of relation
key (they differ only in one note) consequently, G
to its parallel ;
major and A minor, Q major and .fi" minor, i** major and D minor,
are nearest related, "and thus the triads of
the first and sixth,
* Parallel keys are those major and minor keys having the same signatures
for instance,C major and A minor, G major and minor,' i*" major and I)E
minor.
117
s-
122.
m -s-
keys.
—&—
123.
-d-
125
^S»-
iszz: :22z
m rO-
3F^
iy
In A the last chord appears with its fifth in the upper voict'.
127. =i=
Srlz -0-
for instance,
130.
fl t f=F imm
-&--»-»- -&- G-
Y'n n
or alternating chords might be led through their different posi-
tions, as in No. 119, if we wanted to employ all the chords in
one phrase ; or they might be employed as here
131.
132.
-•- -» «- j -#-
I
-#-
I
-# .
-m-
„ A,
-Bz
133.
m t±^MrS: ^
mg of the dominant chord and the tonic triad with their positions.
The design of No. 119 gives us a third and fourth. We connect
120
the tonic and dominant harmonies, and write the bass, perhaps, in
this manner
134,
fea^ a
P
Y
^m
or in this
135.
iiii
s
136.
^^m rr f
i
m
f-T j-
r
Such designs and sequences receive a special' destination, when
Prelude,
'
o g~ -3-
137.-^
-&~
"ST -s-
T+t <^
138.
122
CHAPTER II.
140.
m ^
three different chords.
^
The second tone, d, can be
1. Octave ; which would make the chord d-f-a.
141.
W-. ^S
BE:
CI '^V 1
1?4
144.
n
125
instance,
^N^ -f- m g
147.
-j—j-
e;
In this respect we know " that every phrase and every period
has to end with a perfect full cadence ; for instance, in C major,
with
148.^ ^^
^S= ^^^^-^
r , r
further : that every thesis has to end with a half-cadence, like
or perhaps |
149.
-&-
M:
or with
150.
W-
--^z.
C3 g -&&-^
-J
These rules must still be respected, and in No. 143 we find them
attended to in a as well as in b.
chord can be used for every note contained in it but care naust
;
^
151. r .^
BE
152.
153.;
B^ Mski r r r 'I
" r
Still more convenient would have been the progression of b,
though by it we should have lost the fifth of the dominant chord.
Thus much of the dominant chord. We will make it a rule to
effect our full cadence by it.
154.
cho;-d. ,
155.
m
but the tone c, into which the third would have led, is alreadv
128
^^
completeness of the second chord.
156.
E 4=
r 1
T r
r r T I
i 4
157.
r
Here the seventh in a middle voice ascends also. But the de-
viation is not hidden, because the voices are too far apart, and the
e which we expect in the alto is given to another octave.
If, now, two voices take the third or seventh, both will have to
resolve in octaves (or unison).
158.
thus
129
n
130
Here was material enough to puzzle the student with the ques'-'
tion if all, or any, and which of these cases were allowed or for-
bidden : for some of these successions occur in the most simple
and indispensable progressions of harmony ; for instance, ia the
natural harmonies and the necessary cadences.
E ~s>
-f- t-
sy nr-
r^
making it absolutely impossible to write a harmonic phrase with-
out such progressions.
But with the same right they might, under similar cireimistan-
ces,have forbidden the use of thirds, sixths,^ and sevenths, which
can also become very conspicuous ; for iastance.
P -&-
^ ^-
^
-00--^
Fifth Part.
The Inversion of Chords.
CHAPTER I.
one which in the original construction (by thirds), was the lowest.
This one remains the fundamental tone, whether it be above, be-
low, or in the middle.
There are as many inversions as (besides the fundamental tone)
there are tones in the chord ; consequently every triad has two,
and every septime chord three inversions.
1. 2. 1. 2. 3.
E^
^^W=W
-^ P^TlT F
These inverted chords are so important, that they have re-
called the chord of the sixth, or Sext chord as we shall call it for
brevity's sake. It has received this name, because the most im-
portant notes of it, the third and fundamental note, form now the
interval of a sixth. The second inversion of a triad is called the
chord of the fourth and sixth, or Quart-sext chord, as we shall
call it.
""W f-^-T—f=7
This addition to our chords, though of great advantage, gives us
no new difficulty. For all inverted chords follow the same rules
which govern the original and fundamental chords. Thus when
we said of the dominant chord, that its third ascends one step,
and that its fifth descends or ascends one step ; the same rules
still
162.
There
hold good in the different inversions.
^
is
»=*
rr
3
r
J-
¥
r r
but one thing which might appear strange to us.
Mn=f'
Why, in the above, for instance, does the fundamental tone g re
main instead of going to the Tonic, according to the original rule ?
J-
163.
m ^
though this proceeding is
r
always most proper when done in the
lowest voice.
When we analyze the effects of these inversions, we find that
by them the chords are taken from their original position, from
their proper and firm foundation, and that they lose their natural
clearness and security in the same degree as we increase the dis-
134
tance of the lowest note from the fundamental tone. But ia the
same degree they partake of a mobility which is foreign to the
original chords.
Therefore the sext and quart-sext chords are not fit to be final
chords. The latter particularly brings the tonic triad in so strange
a position, that we wiU only employ it when we are led to it by
the drift of the bass, or when we have particular reasons for it,
of which we shall learn some in future.
For the same reason neither quint-sext chord, nor terz-quart
chord, nor secunda chord, are fit to prepare the end. Though they
all must resolve into the Tonic, the strength of the step from
for every tone of the melody, but we can also introduce the dom-
inant chord arbitrarily, and in addition to this we have the inver-
sions. It is clear that the figures which we formerly placed above
the melody are no longer sufficient. We require now a diflferent
CHAPTER II.
<^
164.
6 4 6 6
The quart-sext chord is here introduced, but we have been led
to it by the bass which passes through all the intervals of a chord.
The same proceeding can take place with the dominant chord,
165.
^ ^T
Y^ 5 3
"*
„
3
4
Y J
6
and with every other triad and septime chord.
2. Formerly we dared not attempt a succession of triads in
on account of the consecutive fifths and octaves
parallel direction,
which would make their appearance,
I22I
166. :sr:
s:
but the more mobile sext chord permits us to make such succes-
sionsand to employ them for new designs and passages and at ;
167. ^ !^
137
-I
168,
$ s
^'
f
or by a middle voice alternately doubling the third and fimdar
mental tone of the chords.
169. iM^E^y
$
J J T r T f f
It is apparent that the manner of No. 167 is the lightest; that of
No. 168 is also flowing, but the zigzag movement of the middle
voice in No. 169 makes it heavier and only appropriate for slow
movements.
4. The quart-sext chord can also be employed in a small suc-
cession, like,
170.
W j=^
rrT
f
J i i :^
171.
m
-f-^-^^-^-r-^^
See Appendix A.
138
172.
m ^ i 3 zz
O gj
-3
173.
i -f-r-r Y
are much more flowing than the same in their fundamental posi-
tion, where the bass has to take such wide steps.
d= J-
174.
m =s
r T r
r ^ ^
r
wu
I
d:^ ^^ff
r W=F^
175.
p
sss
I
r
zz
22:
&^ ?z:
176. ^^^
S :=\-
r =P2:
?^ ?=
We can descend in similar manner,
177.
i W^t^^ =s
i
The addition of a third chord gives us still more variety, which,
together with the thorough practice of every design through all
^*iP
<feo. I I I JffiC.
I
&-
ism^^
179.
^ F=^-
gE m
or thus &o.
180.
^=i: 3:
**
See Appendix C.
140
Efe^
181,
i T
Now that we have a better control of the bass, though the
progression of the same is vigorous and decided, it is nevertheless
awkward. Leading the first chord through its inversions,
182.
m- ^=^ it-
s
6 6 7
i
we arrive at the quart-sext chord, the lowest tone of which is at
the same time the fundamental tone of the dominant chord, thus
offering us a much more flowing connection. We will prepare
our full cadences, therefore, with the quart-sext chord, though it
183.^
W.
184. "7
9l
1
141
progressions ; for they permit that the bass avoid a fault, without
fording us to substitute a new chord.
IZC E3=
185.
-&- ^ T
SgE
-&-&-
J.
Hf=Fp
2
-& -.ztssz
^
3
221
*=
3
6
4 4
Here we have avoided the faults attendant upon the sixth and
seventh degrees not by alteration of the middle voices, nor by
:
186.
w. i^^
-r r
^
This brings us to a chord^the dominant chord without its fun-
Like every other triad, it has its sext chord and quart-sext chord.
142
187
m
But, in reality, this new chord is nothing else than an imperfect
dominant chord. Consequently, its tones follow the same laws.
Its fundamental tone b (the former third of the dominant chord)
ascends one degree to c ; its fifth, / (the former septime), descends
one degree to e ; its third only (the former fifth) can ascend or de-
scend. But in Nos. 153 and 153, already, we have permitted de-
viations from these rules, and we may therefore admit them in
the diminished triad.*
-&-
jSl
isz:
188. -OZ
i -s=
Here, at a, b, and c, we see the seventh doubled, which occa-
sionally may be necessary in order to obtain a flowing progression
of the voices. In order to avoid consecutive octaves we must de-
viate from the original law, and permit one of the original sev-
enths to ascend. This is done best at a, where this deviation
occurs in a middle voice ; at b it is more perceptible, and at c it
is disagreeable on account of its being in the upper voice.
It is not to be denied that this diminished chord lacks the full-
ness and firmness of the dominant chord ; but we are often fbrced
to employ it where the dominant chord would only disturb the
movement of our voices ; for instance.
189.
rr-frf^
* See Appendix D.
143
CHAPTER III.
CHAPTER IV.
_£2_
£?~
193.
m
BE m in
-
-9- --^ r—
194.
146
ijj-ij iij.jjijj.j;i.
Wwm 6 6 a 26
t
3 6- 7
p
But first we must observe, that horizontal dashes in the, figur-
ing signify continuation of the same harmony ; as in the second
chord of the penultimate measure, where thty stand instead of the
repetition of |.
"197. zzL
w
or thus
See Appendix C.
147
A: zU ~A
198.
^EB &-
:si
s- :iii
Pff ^±f. r
:^
J- 4 -J
BE ^.^E^EidE=
I
F¥=FfF=PFf l9-
RETROSPBCTION.
MODULATION.
major, three minor, one diminished triad and the dominant chord,
together with all the inversions arising therefrom, are sufficient
means to harmonize the scale, and all the melodies therein con-
tained. The dominant chord gives us a perfect cadence, the ma-
jor and minor chords remind us of the nearest-related keys, and
we have sufficient means for half cadences and imperfect cadences.
We can now confirm the conception of a hey, that such a one
must be fit melodically and harmonically as well, for the forma-
tion of phrases and periods.
But we must not close this chapter without drawing the atten-
tion of the student to the fact that it is absolutely necessary for
him to play over all his compositions and exercises. In dispersed
harmony, particularly, it will require some practice to do full jus-
tice to the different voices. These voices are all alike important,
and should be played with precision and equality of strength.
When thus practising, the student should watch the effect of
every chord, and the results of this attention will be a better com-
mand of means than can be acquired in any other way.
149
8ixth Part.
The Harmony of the Minor Scale.
CHAPTER I.
C-e-g
g - b~d.
f- a - c
C e fg a b c
e - g -h
d-f-a.
This would give us the scale
A, b, c, d, e,
f, g,a.
But in that case the minor scale would lose that most important
of all chords, the dominant chord ; for the latter is based upon a
major triad. Consequently we must change the minor triad of
the dominant into a major chord ; for instance in A minor,
e-g-b, into e-g}^-b.
For this proceeding only we have sufficient reason ; for the rest
150
minor scale,.
ous second does not agree with our melodies, we need not use it
Note. —The student here advised again to read over carefully the Ap-
is
pendixes A and B, that he may have a clear understanding of the whole
subject. —G.
151
CHAPTEB II.
Wk have now to find harmonies for our new scale in the same
manner as we. formerly found them for the major scale. We will
at first follow our figures above the melody, and avoid the
85 3 8 5 3+3 8
:si:
200.
m ?=
-|S>.-
^ 221
-h
201.
m
but in that case the harmony has no connection, and that, too, at
-k
202.
m
but in order to make room for the succeeding tone of the melody,
153
e-9l-b—f,
which even exhibits the normal construction, with the exception
of the vacuum between h and/ Our second harmonic mass has
already exhibited to us such a vacuum, by the filling of which we
gained the dominant chord. Here too, therefore, we will fill the
vacuum with the intermediate third d, and have thus a new chord
oifive tones
e-g^h-d./
.........
which accom.pany the descending minor scale.
203. P #g=
;?: s= -&-
BE
221
Our main object is now achieved, only that we have introduced
into a tetraphonic phrase a chord of five tones. This leads us
to a further consideration of the new chord.
The fifth tone, which distinguishes it from all former chords, is
the ninth from the fundamental tone, and gives to it the name •
204.
BE
^ :22=
-£2I
=lte
-©-
205.
J^
m ^
Which tone here can
r now best be omitted ? Undoubtedly the
fifth. Fundamental tone, third, seventh — all are too significant,
and the ninth is decidedly the most characteristic tone.
CHAPTEE III.
207.
^ -£2- -0-
^-
m ZS2Z
-&-
-©£2-
208.
m S :si^gg—^^
-go-
210.
m
The latter only deserves a new name, because by and by it will
become important and since the diminished triad is contained
;
311.
4 -e-
&.
A -G>-
212.
-ei
i&
m3 tfe "^ te
'
r Y 1
CHAPTEE IV.
215.
E -©-
T r
/goes to a instead of .
«, because tfie chord remains and becomes
a nonachord. Then again atof, and ftob; not because the nona-
chord remains, but because it goes back into the dominant chord
whence it issued.
However brief we can make our instructions by reference to
158
1. Major Melodies.
"We have foUnd two new chords for them ; the major nona-
chord and the septime chord arising therefrom, with its inversions.
for instance,
^feS—tfifS
rrrE^
J N 1
'
'
J h i-^J- U JJ
=^ 6 6 2 6 3 5 6 6 7 „ -•-
4 5 4 4
2. Minor Melodies.
We have occupied ourselves so little with the minor scale, that
we now require a more thorough practicing of formations in its
compass.
As introduction it would be well for the student to construct,
from the chords of the minor scale harmonic designs and sequen-
ces, as many as he possibly can. Then he ought to treat every
159
217.
^iite^i
'M '^i
EBtt. isi
-i» §t -l^
5 1 H3 6 H t
1 tl8 4.,
-M-li
M^ iEk^
?•=
i»^=S--
'&U-
f.
3E£
ife^ 4
t!3
6
4 5
t|6
6
:p— •-
H4
2 6
S*-
H
^-i:
4-a^
m
87
We find in the figuring of the above some new signs which
require an explanation. Until now we have taken all our chords
as the ordinary key-signature (the sharps or flats placed at the be-
ginning of a composition) indicated them. In major this answered
very well. Bnt in minor this key-signature does not correspond
218.
P^ rr
T-
219. ^i
i =F=^
but the second is less admissible, because the accompanying ninth
forces the seventh to follow its natural laws.*
* See Appendix F.
161
SeTcnth Part.
Modulation into Foreign Keys.
All our formations thus far moved 'within the compass of any-
an essential part of the same. In such case the step from the one
key into the other is called a " transition."
Or we can merely touch new key, use one or a few chords,
the
or even a sequence. we have a mere " digression."
In that case
If, therefore, in a composition in major we would introduce
passages and phrases like the following.
220.
which are not indigenous to that key, but which would have been
touched merely accidentally, without actually exchanging raa-
jor for another key, these foreign chords would be called " digres-
sions." How to arrive at such chords, how to classify them, or
how to construct them, requires no particular instruction, as the
results of the rules of transition will furnish all the requisites.
Transition, then, according to the above, is to leave one key,
in the course of a composition, and to se^e distinctly another
one, in order to construct, or execute in it an essential part of the
whole.
162
CHAPTEE I.
instead of C major,
'^i <^> «i fi ffi «! h «i
with its three major triads ((7, ff, F\ &c., we take A major
'
a,h, c\,d,e,f%g% a,
with its three major triads {A, E, D), dzc. This womld be the
most complete, but also the most troublesom,e manner of modu-
lalting.
tones, therefore, they are not distinguished from each other, and
in which we do not perceive that C major has beeir excMnged
for A major. These mutual non-distinguishing tones need not,,
therefore, be touched.
The remaining three, /|, cjf, g^, indicate the transition. But
even in our monophonic phrases we have already used foreign
tones without exactly exchanging one key for another. We re-
quire a more distinct sign of transition than mere single tones.
This we can only expect from that harmony in which we have dis-
covered the first conception and the foundation of keys.
But which are the harmonies which serve us as the surest sign
of a transition ? Those which surest indicate their key. Therefore
the dominant chord with the nonachords derived from it, and the
triads contained in it are the ones. The moment one of these
chords appears in the course of our modulation, we say that we
have entered its key^
We attach all further observations at once to the first transition-
chord, the " dominant chord," and then pass on to the others.
163
we are in A minor.
Since the dominant chord is the decisive sign of its key, it must
alsobe the decisive means to modulate into its key. If we in-
tend to modulate therefore into any other key we have but to in-
221.
we see at
EES ^
a the six triads of G major, and at b the four triads of
:£S=^E1E::
'-^=W
With the chord c-e-ff, for instance, we can connect the following
dominant chords
222.
m *
Deducting the dominant chord at
-&&&
h, because it
W
brings us back to
the preceding key, we have still eight actual transitions : to
F, D, D\,, B\,, G, A, B, and 'A\,. We need hardly men-
tion that we have used the inversions of the dominant chord, in
order to effect the transitions as fluently as possible.
If we intend now to make a transition from a chord, for in-
stance from c-e-g, into a key, the dominant chord of which is not
connected with the former, we make use of a mediator. In going
from C major we would require the chord
to E, for instance,
5-c?|-/|-a, which has noTnutual tone with c-e-g. We, therefore, go
first to another chord in G major which has one or more tones in com-
mon with the dominant chord of S, and which at the same time
is connected with the chord c-e-g. Of such chords there are sev-
eral, and every other chord in* G major can here accidentally be
the mediator between c-e-g and J-rf|-/}f-a.
223. A B
i=
m
z^z
W-.
-fr =^^
feE
^3Z 1
165
224.5fe^=§=
i -@-
^ ^jp¥
.»-
Z2©=
-tr--^ ^fepE
-|S>- -#- -&-
$ --§- Sr
321
=i-= W^-
-ft
166
the chord c-e\,-g, (we change the major chord into minor) and thus
gain not merely an additional mutual tone, {c-e\,) but obtain
also a harmony -vphich reminds us of C minor, and brings us
nearer to Sh major than C major. At b and c we find other
225. fe
S: fe= =fe-
226. 3t-
-&- -3- -& -&&-
iSj
MP 'ZSl
^
Then we must examine whether these two chords have sufficient con-
nection. In the above case the tone e is the connective tone, but
the remaining tones are in absolute contradiction to the first chord
and to G major. If the connection of the two is not satisfactory,
a glance at the chords will soon suggest a harmony which con-
nects the two chords. Thus in the above (b), we have first inter-
posed the minor triad then the major chord, a-c|-e, and finally
a-c-«,
f-
We have here only employed the nearest and best mediating
chords. Mediating for every particular case and its application
to minor keys, and the exercise in diflferent positions of chords and
other keys is left to the pupiL
Each of these modulations, as we know already, can lead to
minor as well as to major and, as a matter of course, the keys
;
of B\), E\, F\^ &o., can he exchanged at any time for their enhar-
monic representatives C|, i)|, G'b, &c.
We must now speak of a modulation which does not strictly
deserve that name, and for which our ordinary transition-chord
(dominant chord) does not suffice. We have reference to the
major and minor of the tonic, (for instance, C major and Cminor.)
The dominant chord which the two keys have in common is cer-
tainly the nearest mediator we could seize.
228.
TM
but exactly because of its being a chord belonging, to either of
these keys, it can no longer be the sign of a transition. If such
sign is required, the minor triad of the subdominant would be
the nearest indication of our going to minor, (a)
229.;
168
2. THE BrONACHORDS.
23o.a^^3^3i; -bpg-
232.
ii
but requires a certain confirmation as at c.
Independent of these deviations, however, the septime chord
furnishes its series of modulations with or without mediation, for
instance to
F D Ab E
~^*"~
Si= M m:
233.
fei:: -&^"
m i
simply lacking the vigorous step from fundamental tone to fun-
damental tone, or from dominant to tonic.
234.
:^= =a^ --^i-
--ii :i^--
turn it has none of the vagueness of our last septime chord. Ac-
cording to its derivation and tone-contents it can only belong to
one key ; for instance the chord h-drf-a\) can only be found in G
minor.
^^
stance,
235. =2Z^fi
i; -&—S-
236.
4 /* 4 fU
Only the final chord's in each of these examples tell us what key
follows in reality.
Our ear, however, always expects after a diminished triad that
key which is nearest related to the previous one. Thus if in G
major, for instance, the chord b-d-f occurs, we trace it to g-b-d-f,
and expect C major, because this key is nearer related to G major
than A minor. same chord occurs in ^minor, we trace
But if the
of. The chord g-h-d, for instance, can belong to either major,
D major, C major, or C minor. Yet we have observed already,
that the dominant triad, if succeeded by the tonic triad, will be
treated as an imperfect dominant chord, and be resolved accord-
ingly. Therefore a mere triad can also become a sign and means
of modulation if it is distinguished sufficiently from the until-then-
prevailing key, and if it resolves like an imperfect dominant
chord into the tonic harmony of its fundamental tone. Thus it
is here at a
237.
modulation from A
minor to C major. Certainly it might also
as at B have been led to major or even D, and this is exactly the
lack of decision which we have mentioned. But even here, our
ear anticipates the decision ; it expects the first modulation to C
major, because A minor and C major stand as parallel keys in
nearest relation, while Cf or D stand only in more distant rela-
tion to it.
it indicates at least that for the moment the original key reigns
no longer, and we expect either a return into that key (a), or an
actual modulation into, a key to which the new chord is indige-
nous (b).
238.
172
We need not add that our former mediating chords with for-
CHAPTER II.
In the latter case we shall always prefer that which lies nearer,
and shall rather modulate into nearest-related keys, (the keys of
the dominant, subdominant and the three parallel keys), than
into more distant keys. Having arrived in the new key we pro-
ceed again on the same principle, i. e., we prefer remaining in it
1. EXTBENAL CHARACTBEISTICS.
These consist in the foreign tone of a melody. If in a melody
174
239.
^
i
can be conducted from C major to O major (a), it is true, but it
2. INTEBNAL CHARACTBRISTICS.
These are based upon the regular progression of all modula-
tion, and upon the principles therein developed.
241,
176
every tone of a melody can be not alone, third, fifth, seventh, &c.
of a triad, septime or nonahchord of the key in which the melody
is written, but in any key which contains that particular tone.
Thus the tone C, for instance, can be
1. Fundamental tone of a major, minor, or diminished triad,
244.
^.
^
i ^ ^s
'&- =p^ -&-
245.
& W--
^'-»-'
^
1?"
M ^ >fe«-
^
3. Fifth of three triads, three septime chords, and two nona^
chords.
246.
fe^=F*=«
I^a^^a *
4. Seventh of three septime and two nonachords.
247. -TT lo
"
F
—"g—F— I
"~
^ —^
1 F
5. Ninth of two nonachords.
248.
We have discovered,
w.
:M
,si
b! *
according to the above, one and thirty har-
monies for every single tone, independent of the different inver-
177
end with the dominant chord and the tonic triad, and generally
begin with the latter, while we shall mark the thesis of a phrase
vyith the triad of the dominant, or with a modulation to the key
of the dominant. Finally, in the course of a composition we
shall always think first of those chords which belong to next-re-
lated or near-related keys, in preference to chords of more distant
keys. - •
255.
i
n
^f^fe
S 6 f6 fcl b5 4-7
9 6- 6
first part we turn now to some other related keys into which to
modulate. There remains for us the parallel of the dominant,
the subdominant and its parallel. It would require the chord
trary. Thus, for instance, we might have treated the fifth measure.
No. 255, as at a, 256 or continued it as at b or c. The reasons for
our present selection will become apparent at a future time.
256.
257.
takes away the unity and firmness of the whole structure, except
with the plea that it was our object to introduce as many keys as
possible.
We must further remark that in finding these foreign chords
we have observed a two-fold proceeding. At first we enquired
which chord was suitable to this or that particular tone of the
melody, and retained the key into which we were led by the se-
259.
I 1 I I I
j !J 1 I I
IPW^m^^Gr- t^
I
'^
:d.t::-.
2 6 3
i 5
tl
m \,1
i--
bbY
Jali-
b6
mm Ul^-d
iW
have led one of the intervals of the triad into the seventh (/),
and thus satisfactorily ended the phrase.
I I
-*
^
E
r r r
than to write as at b.
we
^ r r f
also consider it best to give such
'
r r
^^
an altered degree to that
voice which had formerly the original degree. For this reason
181
the notes e}), /|, e and c|, appear in the same voices (treble and
alto) which formerly had the notes e,f, e\) and c.
-
J
i^
!
mi
Mz rt
rr i--^r-r =F=is
l^z
matter and have earnestly and anxiously warned against it. We,
however, need attach no such importance to this matter ; not
merely because our manner of conducting voices avoids such re-
because ol this necessity and because the voices are led as natu-
rally and easily as possible, that this progression is permitted
and can hardly be counted among the cross-relations.
This relation is also covered or smoothed over, when the con-
tradictory tone has the appearance of a newly entering voice,
as at A,
-£3.
fe :d^i-4-
3^;
^=0=F+=if I I
ir
W-
-Si
S u
--^
m j^_
I
ff rrf- I
Here, in the first example, four and four chords constitute a phrase,
and consequently the cross-relation of c and c| is admissible, be-
I „l
J
fe^ -J-
5S fe^
ip-jz
r^UT¥ T r
We have now proved that a cross-relation, with all its harsh-
ness, can be even desirable, as the only right expression, when it
183
s;
m^
r
in a mysterious,
OES -
^- p-rrf~f ^^^
gloomy manner, before entering the fresh C ma-
jor. The second entering voice leaves us uncertain whether c-f-a\)
{F minor), or c-eh-a\, {A\, major) will appear. The succeeding
voice decides for the latter, and with the next voice (the treble)
Mozart breaks this harmony at once, and keeps us in anxious
uncertainty, until with the sixth quarter-note he turns decidedly
to G major, the dominant of the principal tone, and then con-
tinues. Who perceives not that this piercing tone — it forms a
cross-relation with the preceding a of the second voice — is abso-
Mozart had resigned the a\) or the a^ of the higher voice, the char-
acter of his phrase, and the analogous succession of his voices
would have been lost.
For the same reasons cross-relations are well applied, when
we use them in slow harmonic sequences and sharp and weighty
modulations, for instance.
IZt te 3i ^32:ja
i
m m I £22
-CZ- Zisr. ife
harshness,
#== ^=#=
because the change of modulation occupies the hearer, and such
184
^
i t -^ ^=1_ .
mz
.
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^^==^=^
BF¥
m l^^^to
drf
^^^p^-
Pm^ ^; g^—
i3— 3^
d^
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W- 4^
m -^t^=^-^-=gg
^^ fes
It is evident that the cross-relations marked f, could not be
avoided without sacrificing the upward pressure ii'om d to
«K «j/^/ff) 5^1 ™d again from $• toal;, a, bb, b, in the lower and middle
JJ!J-JJ UJ-
fl '
I
I 1 [I
h'
lations, and of which the first (a and b) are less distinct than those
at c and d, because the cross-relation in the latter is in the outer
voices.
Why does not the intermediate chord destroy the harshness of
the cross-relation 1
Firstly, because the flowing voices e\!-d-c, g-f-e, &c., are recog-
nized at once as phrases belonging together, and because e|)-i^c, as
well as formerly, is melody of C minor, while g-f-e
considered as a
belongs to C major. For the same reason the phrases b and f, in
which passing-notes take the place of intermediate chords, make
no favorable impression.
Secondly, because the dominant chord is not sufficient to dis-
CHAPTER III.
259.
260.
8va.
<^|-/ X -o|-c|, which would have led us to G'jf major ; the continua-
tion would have been thus
262.
Eg
f"-=*T
and would have brought us 6^1 major with eight, A\ major with
ten, B'^ major with twelve sharps, and would have involved us in
an infinity of signatures. Instead of this we have enharmonically
changed the above chord into e])-g-i])-d\i, which has brought us into
keys with less signatures. The same occurs in the modulation to
the sub-second
263.
The beginning of No. 263, and the ending of the last passage
remind us of our first harmonic lesson ; the accompaniment of the
ascending and descending major scale. While until now we have
moved voluntarily into any key, we can now consider the degrees
of the scale as just so many tonics into which we modulate. In
other words, we go from C major to D major, jE major,
i'' major, &c.
264.
265.
^^^^#ii
Tf ripf
188
G m D Eh E &Z.
and write our chords now with sharps, now with flats, as may
be most convenient to us.
± Ai
267,
ld= %\
i r ^ w- T r
list
268.
189
^ ^±ir^^L^dS=^
F¥g=J Q^ T'-¥
^
ztzi =*
through.
The practice of these passages must not be limited, however,
to the dominant chord, but should include all the other transition-
chords.
Thus far, though we have discovered extended combinations,
we have obtained nothing essentially, new. We will now pro-
;eed to the actual new formations.
=g=fe=^-'&-
270. ^,
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fo-
:t|
ds :fe
=^ :te --^
z\S2Z §&-
_£2I
271.
JZ.
m 3SZ.
'-bzsn
-y&-
-fe-
190
#fi=*=#=,^
T=^=^^ES^f^:^2~=^. -&-
gg~
Here we see every tone follow its regular progression, with the
exception of the third, which descends a semitone, and becomes
the seventh of the following chord.* We have written the above
for five voices, in order to avoid the irregularities which we en-
countered on former occasions, and yet to obtain perfect chords.
If it were our object to have the above passage tetraphonous, it
', e g, c, 7, g,
a seventh tone made its appearance, for which then we had no name, an(J
after which only, the other tones,
c, a, e, <Sco.,
1227
272.
.._-J-_i_-J_iJJ_
^F^ ^m we
Here, amidst familiar chords, also discover some new ones.
Familiar to us, besides the final chord, are
No. 1 and 8, dominant chords, with major third, major fifth, and
minor seventh.
No. 4, a chord which at a first glance might be taken for a nona-
chord with omitted fundamental tone. If such were the case, it
273.
I
11
i^--^.
274.
^ bp:
z^trtfa
•F=t=^
The latter can take place, either in major and minor nonachords
alternately, (as in the above) or in a steady succession of either
major or minor nonachords, which is left for the student to prac-
tice.
I --i=l=l
•275.
m --^—f—r^--
3E^^
276.
277.
^m
^E^dfe
which, however, as is easily to
=^
278.
& is::ai
279. S>-)g-
280. ^^
$ ^C2. -33:
r
I I
Its first inclination is towards the tonic, to which it drags the no-
nachords and all the derived chords ; then, it leads us with its
appendix from one key into the other ; finally, after its once re-
nouncing the return into its tonic, its motion is unbounded ; for
neither rest nor end, but drives us incessaptly through all the
degrees of the scale, until we arbitrarily rest, or seize a tonic har-
mony. Equally just is the designation of the tonic triads
AS SEAT OF REPOSE.
They are the goal, the actual end of all harmonic motion, as
they (particularly the major triad) were the beginning. They,
for themselves, have no stimulus for motion ; each stands there
by itself, without the necessity of moving into another chord.
Therefore, with the exception of the dominant chord, they pro-
duce no new chords, and no necessarily connected harmonic pas-
sages ; their most flowing combination, the sext chords are merely
mehdically (by the parallel direction of all or most voices), not
19S
281.
But in the latter case it is evident that the stimulus of this mo-
tion is not properly harmonic, but merely melodic. The chord
c-e-ff has no relation to f'a\}-d]) ; consequently no inclination to move
into or towards it. The separate voices only move diatonically
or chromatically up and down ; but exactly because of the regu-
lar manner in which this is done, the chords which they form are
at least melodically connected.
196
CHAPTER IV.
VARIABLE MODULATIOirS.*
The first can be said of no other chord ; the second causes that
with every inversion, by merely changing a name, we arrive in a
new key. Here, at a,
282.
£], Dh or Cjj
f, and thus obtain the fourth septime chord, g\-h-d-f, which leads
us to A minor.
Now, since neither change of name nor inversion alter the
actual effect of the chord, we can represent the same results at
once, thus
J"
I
IlJ I
283.
in h-d-f-g.
This gives us the above four modulations with a circuitous
course of the dominant chords,
&e. Ac.
-^
i "^^
:fe
286. iffi^E2^ % i^ % :^MP^-
288.
i^^^
Here we have again four new modulations to B, F, A\), and G,
and it remains for the student to carry it out in other, per-
haps more favorable positions.
Thus the simple diminished septime chord leads us immedi-
by means of an assistant chord into all twelve major or
ately, or
minor keys, and to most of them in more than one way.
Already in Nos. 154, 155, and 188, our third and seventh of the
dominant chord have risked, under cover of the remaining voices,
some deviating steps ; at No. 271 we have arbitrarily changed
the resolution of the third, and thus have arrived at a new dom-
inant chord, and consequently at a new key (that of the subdom-
inant).
Let us now pursue the opposite. We proceed (at a) from
one dominant chord into another, vis. ; that of the dominant.
-59-
289,
$
^S©;.
_£2_ li^ fro^-.
The third pursued here its natural course, but the seventh
was elevated, and the fifth and fundamental tone have also pur-
sued a different course. This proceeding is based more upon our
pleasure than any law of nature, and is only admissible because
of the near relation of key. It is but rarely that a continuation
of the same (as at b) is applicable.
291.
•292.
-&- -iS^
5 W
E :iES^^=g=±
^g=~
.a. s-
m. ^^
-& -e- s s-
At A the seventh of the dominant chord remains, while the
other tones pursuing their regular course, form with it another
chord, until finally in the last chord the seventh obtains its due.
At B we neglect even this ; for g-l-d-f apparently proceeds to i?' mi-
nor, while in reality we merely go to the subdominant of C minor.
At c, D and.E, the fifth/ (the seventh in the nonachord) does not
pursue its natural course to e, but goes far beyond into the
fundamental tone. By this means we are enabled to double
it. (k)*
* See Appendix H.
201
CHAPTEE V.
The first part, as a whole, ends with a full cadence ; but this
and thus with all its completeness at the close, it still does not
end satisfactorily, and leads us to expect a return to the principal
tone.
And now comes the second part as something expected, and
leads us back to the principal tone, in order, there to end the
whole satisfactorily.
202
gd-
293,
$ -&-
e- Sp- — -s-
-s?
~P- 1
-ig-
^^E f^
^- S-&-
f
and for minor-
203
294. _ss_
i rw tp=^±y
-p-
$¥ SSSl
i
i:
a higher key, than upon the transition into the clearer and more
vigorous major.
In the second part, also, we discover now an unsatisfactory move-
ment towards the end. The second part follows its original des-
tination, to the quiet of the principal tone. But it would be bet-
ter if, as the actual ending of a whole, it had somewhat more vigor
and decision. It ought to contain an elevation and stUl fall upon
the principal tone.
In order to achieve this we pass on to the subdominant, (too
low, in fact) and now we can effect an elevation into the princi-
the dominant, or with the parallel key, as the nearest and most
appropriate steps. Afterwards we introduced the dominant key
of the dominant, or of the parallel, and the subdominant.
If we were to go still further, we would again seize the nearest
related keys ; these are the parallel keys of the principal tones
and of the two dominants. But we know already that we
can choose more distant keys without touching upon the nearer
ones.
Our present means are by no means so profuse that they should
require a further extension of modulation. The second manner
of construction, or even the first, willbe perfectly sufficient only ;
paration of a close in c.
297.
^
we could go
bring with
-^=$=f=^^^
it
'P-'P-
to the triad of A
206
the final cadenoei Such preventive cadences are called " Interrup-
ted cadences." The imperfect cadences, too, which we have for-
merly (page 118) seen, belonging to this category, when they take
the place of a perfect cadence and cause the addition of a coda.
207
CHAPTER VI.
ABEUPT MODXILATION.
298. M 1 ^ r
tion of the former one, and the retained tone is the connecting link
between the two phrases. This tone, without reference to its for-
--^ :&«
^ lis=F4IL-
E major D minor D major. B\>
^e-
»E ¥, W%- -s-
M
«
This gives us again twelve modulations (not counting the repe-
titions of those already counted) into major or minor.
In all these cases, it is true, the remaining tone was the con-
necting link of the harmony. But we have depended more on
the fact that the previous phrase was closed, and that the har-
mony had ceased.
We will now in reality depart for a time from the harmony.
We will change No. 298 into the following,
301.
—"J—tl d J 1
>-a»- t-^
209
Or the same tone.can at, once. be. part of a new tonic triad,
303. ^ m %%.
i ii I£2I
and, therefore, again lead into three major or minor keys, among
•which there are four which we have not reached in No. 802. And
since we bound to attach our new phrase to
are not absolutely
the tone/ since we can stop at any tone of our tone-system, it
is evident that there exists no key which could not in this man-
cated by the dominant chord b\)-d-f-a\>, which occurs three notes later.
305, feE
$ fT^ h-^f^
CHAPTER VII.
dominant would be the principal key, which must follow soon after
under any circumstances, and its subdominant would lead us off
too far, without bringing anything new. And now shall this par-
place it would stand in the way of proper elevation. Its best po-
sition would, therefore, be where all the parallel keys meet here ;
Uach key, with the exception of the principal key, appears but
once.
It follows from the whole tendency of our work, that these or-
ders of modulation are by no means absolute laws, but that other,
deviating orders can also be attempted. But the principle will
remain the same throughout. The last particularly, the non-re-
petition of a key, can rarely be neglected without serious disad-
vantage. If we deviate, therefore, from the above, and give to
any key a different position, we must take care to adjust the
other keys accordingly. If, for instance, we concluded to end a
first part of major in the parallel instead of the dominant of the
principal key, that parallel must not occur again afterwards,
though the dominant would find a position at some other place.
The following order would perhaps come into existence :
fixed.
PASSAGES OP PHRASES.
306.
307.
i^i_4ifMJ:
^^m^
a passage before us, the phrase of which originated from the de-
sign, No. 306 — A, and which regularly descends a third. But
even here we see, already, that phrases which are well rounded in
themselves, do not require a frequent repetition. The phrases
(No. 306 —A and b), were and only
insignificant in themselves,
the repetition made them a more significant whole. The phrase
in No. 307, however, is in itself more rounded and satisfactory
the first repetition makes it moie vigorous, and accidentally rep-
resents it in minor ; the second repetition will already be con-
sidered superfluous, and in order to invigorate it anew, we have
placed it in a higher octave. It is also apparent, that passages, if
formed of more extended phrases, are apt to get too broad and
expanded.
215
CHAPTER VIII.
THE PEDAL-POINT.
We have now developed a mass of harmonies, and perceived
the possibility of combining any keys with all their modulations
into a single whole without destroying its unity. But even making
but a limited use of these means, there comes into existence a
balance of motive power against the calming mass of the princi-
pal tone, which is much stronger than that of the scale against
the tonic (page 72). At that time we found in the first har-
monic mass a succor for the tonic. It is we
necessary that
should now find a similar succor for the principal tone.
Where is, in reality, the beginning and origin of all motion ?
It is in the dominant chord we have perceived this in our de-
;
308.
309.
$
But since every tone can become a new tonic, we can con-
sider our dominant, too, as new tonic, and build upon it a domi-
nant chord.
310.
i
^
Only now the dominant has reaUy become a tonic, and we can
combine it in this capacity, and in its original capacity {g as tonic
of Gf major, and ff as dominant of C major,) in the following
harmonic formation
311.
or with the addition of the already known septime and nona suc-
cessions in a stiU richer formation.
312.
313. =«: r-
And
i
thus, chord after chord is
f
drawn into the whirlpool of the
dominant chord, and ascending and descending
314.
PEDAlj-POINT,
and is the last and strongest means to make a decisive and vigor-
ous return to a principal key, after a rich and extensive modula
tion has led us far from it.
* How can we explain the chord a-ci-e-g in No. 314? By, itself, alone, it
certainly does not agree with the pedal tone ji; we can, therefore, only
speak of its position in the above modulation.
We have considered the first chord as the tonic of <? major; consequently
the "modulation into the dominant of &
{d) was near at hand, and for this
we have introduced the chor,d a-c'^-e-g. This chord had necessarily to re-
solve into drf\-a, or d-f-a. Wehave selected the latter, the g in the bass
still remaihihg,iknd thus the chord g-Ti-d-f-a was naturally presented to us.
218
315.
ISl
BE
flre have at once the fullest and most majestic end. In the above
example, in consequence of the profuse employment of the dom-
inant harmony, we have called on the harmony of the subdomi-
nant for aid.
This reminds us of that deviation from our principles of modu-
lation (page 211) on the strength of which we placed the subdom-
inant at the beginning of a phrase, in order to obtain a good foot-
hold for an elevation and a richer tone development. Thus the
pedal-point, too, can be placed at the beginning of a composition
for which we have a rich modulation in view.
We will now set aside object and origin of the pedal-point and
confine ourselves to the analyzation of its contents. We can
take a two-fold view of it. It is, firstly, a series of analogically
and successively developed chords, and it is, secondly, an inde-
pendent, sustained tone, which at one time is an essential of the
219
316.:
I J I 1
1 ItJ I'hJ
|_ q- I I ,
g'. m tPr'S-^-
318
320.
* See Appendix G.
220
CHAPTER IX.
RETKOSPEOTION.
A. Devehpmenf of Harmjony,
We stand again at the boundaries of a vast field. A rich and
important part of tonical development is spread before us.
The two tone-species and their scales have been firmly estab-
lished.
The melody has been developed upon a diatonic and harmonic
by means of rhythm and the first principles of musical con-
basis,
struction.
The fundamental forms of musical construction have been in-
dicated.
But most important of all is the development of the chords,
as far as it was effected by the triple structure itself, or by such
321. f)-- gz
which is the parent and modeTof proportion for all the others.
221
The depression of its third has given us the minor triad. Its
fifthwas the basis of the dominant chord with all its variations
and descendants. And thus, gradually, have we been ied to the
modulation into foreign keys, and have gained means for more
extensive compositions.
It remains now for the student to practice on paper as well as
at the piano-forte, everything he has learned thus far.
M^
i Ff
222
^
that thetwo upper voices seem to lean on each other, as if they
were determined to be reckoned as but one. Therefore all paral-
lel voices are capable of leading ns past such progressions as
by themselves would be offensive. Thus are the following pro-
gressions justified by the parallel directions of two or more of the
voices,
I J Kl
-^ -r-frrTT fl
But this unity and similarity cannot always be welcome to us.
On the contrary, we would probably prefer, particularly in the
outer voices, a characteristically-different progression of voices.
Besides this, a too great extent or accumulation of parallelisms is
but that it was quite a different affair when the octaives were
formed by such voices, as, according to their position, were ev-
idently intended for an independent path in the harmony. Thus,
the alto in No. 92, took its place between the essential voices of
the harmony, and though until then an essential voice itself, be-
came merely a duplication of the bass ; or ia other words made
consecutive octaves with that voice.
Here
I ) 11
1221
e . r I
I .
FtF
—=p~i
r~
I
' i r^^—r^ '^
is a phrase in which the third and fourth voices proceed in oc-
taves throughout. The one is a mere reinforcement of the other
both in reality form but one voice or melody, and answer their
purpose full well if it was the composer's object to obtain a broad-
ness of volume which could not be effected by mere stronger enun-
ciation of a single voice.
From the octave parallels we turn now to
We remember that in No. 54 the fifth was the first new tone
developed from the fimdamental tone, and that the interval of
the fifth, for instance,
c and g,
was the first dawn of harmony ; the, as it were, still uncompleted
triad,
c-g and e.
321
$ -&-
^
in which no triad appears in the same position as the imme-
diately preceding one ; still more, so, when we meet with such
repetition, when its ingredients belong to non-related chords ; for
instance, dominant and subdominant. This explains, then, why
one quint-succession can be more disagreeatl^ than another.
Fifths, indicating or belonging to non-related chords
(like those at a and b), are more conspicuous and' more disagree-
able than others, indicating or belonging to related chords, (c, d,)
?t. ^ai.
Ete^
ti-
^ ±3
! I
Jinatead of ^
=lzE_lir=4:g:
i r I
f— f-
iL-i.J-J
i
r
«P0
and particularly when the fifths fall on the unaccented parts of
the measure, as in the following :
i^f^^P^ )f
i J-
that not the chords indicated by the fifths, but others, well con-
nected, succeed each other. Thus, the unpleasantness of the mea-
sures A and B of the following.
It
^ T
r I
— —
^^ f
-A
.01
*\-^-'
-iB-
?2Z
li-
Still less unpleasant are such successions when they are hidden
226
^ B I
i rj -*—Ti
r
This, we hope, will be sufficient for a subject which for years
has set our theorists at loggerheads, and has caused the most con-
tradictory rules. We have perceived that the prohibition has
its good reason, and that we are always able to avoid consecutive
fifths, if we wish to. But we must always remember, that an ab-
stract rule can spread much mischief, and that quint-successions
are not only sometimes admissible, but actually the only righ1!
way of expression. We shall, therefore, attend for the time to
these prohibitions, if for no other purpose, merely to practice the
avoiding of fifths. But this shall not prevent us from using these
fifths at a later moment, when we have some particular expres-
sion in view.
i. e. of major and minor, (b) or minor arad major fifths, (c) are not
included
A I I
M:
B
Ui" I I
m
in the prohibition,
ignate any original chord, though,
n
from the very fact that minor
when a major
"I
fifths
fifth
do not des-
succeeds a
minor, the succession partakes, in a degree, of the disagreeable
character of major.fifths.
The inversion of a fifth results in a fourth. It is a natural con-
sequence, therefore, that fourths, too, should share somewhat in
the inconvenience of quint-successions. It is true we have often
made use of consecutive fourths, but never without hiding the
obnoxious tones between the parallel progression of the outer
voices.
227
Pis^
Successions of thirds and sixths are the most unobjectionable.
But we must warn against a too frequent and too long use of
them, as they are apt to give to the music an effeminate char-
acter.
iESE^
-Sh
-iS-
r
has also been thought objectionable by former theorists ; and it
Eigrhth Fart.
Displacement of Chords.
CHAPTEK I.
this evil for each of these new chords must again be constructed
;
zssz
322.se
as soon as the first g goes to /, all the other tones of the first
chord, too, enter upon an interval of the second chord, and thus it
-J_;
'-i-
323.
-&-
SUSPENSION.*
Thus the nature of the suspension itself teaches us when such
suspension is admissible.
Firstly, the suspension must be prepared ; i. e., the discrepant
tone must exist in the preceding chord, and must be given to the
same voice which forms the suspension.
Secondly, the suspension must be resolved ; i. e., the discrep-
ancy between it and the chord must cease, the suspending
voice must finally enter upon the proper tone of the chord. /
Yet the discrepancy between suspension and chord is not jus-
tified; in spite of preparation and resolution, we still hear a
thus:
* See Appendix 1
230
J—r^
324.
W -f=^
TT
m
ei^ ^^ 22=
the octave of the fundamental tone (in the second chord) -would
be suspended, while the same interval would be introduced sim-
ultaneously with its suspension, in the upper voice. In the same
manner, in the fourth chord, the upper voice has the fifth of the
fundamental tone, d, while the fourth voice has the suspension e
r ^^-
r
We have to make a distinction here between fundamental tone
and octave. The octave can be suspended, without interfering
with the simultaneously-entering fundamental tone.
Where, now, can suspensions be employed? Everywhere
where we can fulfil the above conditions and with observation
;
of these conditions
1, in every voice.
2, in every chord.
3, for every tone of a chord.
The preceding attempt (No. 323) leads us to one species of sus-
pension which we shall call
326.
^J-J I I
t:
-e- -^
W\\usi
:
I
And now we will introduce all the suspensions possible with
these chords.
327.
^U- I I
:23i
^ ^-FS
e
g— —g—
^ SI-
p^r^f
-s'-
J-
QE
The bass could nowhere become a suspension, because it nowhere
descends a degree. For the same reason the alto had to wait
until the seventh measure.
We perceive here harmonic formations which, though called
into existence by suspensions, resemble some of our former chords
as, for instance, the second chord, which resembles a quart-sext
chord, while we intended quite a different harmony ; the septime
chord or triad of d. It is quite immaterial whether we consider
such formations as chords or suspensions. It is sufficient that
another.
The introduction of suspensions, thus far, gave us no trouble,
because all our voices descended, and were all appropriate for
preparation and resolution of suspensions. But how is it with as-
328. ki
sr
a suspension from above seems impossible, because none of the
voices descend.
But if we merely look upon the contents of the chords, suspen-
sions are quite practicable. In the second chord is 6, which might
be suspended by c. This c exists in the previous chord, but un-
fortunately it is in the treble, and the treble goes to d instead of h.
In the same manner we might suspend the c of the third chord by
e?, but the d is again in another voice.
Here, as formerly in No. 95, we give the two tones to one
voice. The alto, for instance, takes first g and then goes to c.
We have now two voices which have the tone c ; but the one
goes to rf, and the other forms the suspension and goes to J.
1. is:.
3F
329.
2.
s.mm.
^^^»lJlij^Md:
f fe-
330.
&-
im P P-
s-\ f^VfT 221
f
0- -0- ;A-^-i -e- 1-^
BE -Ai 22r
sr 221
P2-
nant chord, the tenor would have had opportunity to form a sus-
pension.
1:
331.
BE
«rt^ r V
234
335.
j-^gi .r-i I
z3tji=Mziz ^.^
m f^
J- -TjJr
BE
=^ fZ:
But, however, great the mobility of our voices, and however
extensive our means, we areby no means as free as we should
like to be, and for this reason we had to introduce the suspensions
wherever we could and as many as we could, without having it in
our power to obviate the harshness of one, or the meagreness of
another. But on the whole we have gained considerably in com-
mand of our different voices and their characterization.
I^
335.
—^^33—1^—
ji li
^^B I IT"
f KB.
m^ gEE^=i«^=?:
g=
* See Appendix J.
236
CHAPTER II.
336.
we see the b of the first and third chords resolve into the higher c ;
and again we see the h and d of the penultimate chord resolve
into the higher c and e. These are the suspensions which, in
contradistinction to our former ones, we call suspensions from
below. They require no further explanation. The ascending
scale, with employment of these suspensions would present an
appearance like the following:
387.
i^
338.
238
DISPLACEMENT OF CHORDS.
Formerly we have looked upon the suspensions in a literally
melodic point of view, as the most important, and have acciden-
tally acquired some new harmonic formations. Now that we can
reconnoitre them fully, and observe their effects upon the harmony,
we can see in them
in existence.
Thus, by means of suspensions, we can form harmonic succes-
sions firm, unseparable, soldered one to another, and in this capa-
city they will be of vast service to us.
have not even drawn attention to the fact, that the tone of a mel-
ody need no longer be considered as an independent tone of the
chord, and that, now, it might be considered and treated as a sus-
239
pension. But now, that we have done justice to the nearest and
most practical object of our instruction, we must not fail to
draw thelattention of the student to some peculiarities.
The resolution of the suspension was necessary, in order to ex-
plain and justify the discrepancy between the suspension-toiie and
the new chord. But this justification can be postponed, by pla-
cing between suspension and resolution another, or more chord-
tones. Thus, here
A
i
t^^i=H -fi
@W
^^^^Ih&^
The first measure closes with the quart-sext chord «-a-c| ; the suc-
ceeding ineasure begins with thS dominant chord e-g\-b-d, in which
the a of the first chord is retained, and must resolve into ^ff. But
before doing this the a goes first to the foreign tone/|, then to J,
iE^^^^m^^^.
m ~^'
^ ^
BE ±z
'ff f ff
BE
2?". r
ifwe aimed at all at a decisive, startling combination of tones.
These unprepared suspensions might serve also for a milder,
anxious expression ; for instance,
341
P w ^ -zsa w
But often the apparent irregularity lies only in the manner of
writing it. Phrases like the following,
J^^^^P^—
1=
1^0 ^^
written thus
221 J2—-S.
E=^
^i=: -G- 3
and can in that manner be easily explained.
But we must return again to the resolution of the suspension.
It ought to take place while the chord into which the suspension
has found its way is still in existence. Here, however,
-&-
y=^ -^-
W- -19-
i
Y P
we see the resolution take place on a different chord. The /of
the treble ought to resolve into the e of the chord' e-e-^r, and in
like manner should the e resolve into the d of the chord g-i-d.
Both tones pureue their prescribed course, but in the meantime
the chords and g-h-d have changed into- cb-c-e and
c-e-g h-d^f. It is
i Jtt
P ty^
E * ^^ i -^-:
/
243
•g--g-- ^?#
^^ -^V-fi-
m.
but the chord-tone m another voice can serve in a degree as the
expected tone of the resolution.
Here we see agdn a deviation from the first niles of the sus-
pension. We see the suspension-tone and the suspended tone at
one and the same time, though in diiferent voices.
jG^Tn
^
I
-&-
-'(2-
1 ^^^
i "^ =F=f=
-e-
Z2=
BE
we see this form twice before us. The g of the treble remains
with the chord OrC-e ; in the same manner does the b remain with
the chord c-e-g. Were we to consider these tones as suspensions,
i I
i
I
I f
17"
I
PT'if^
would be absolutely wrong, if written as at a ; but the suspen-
245
It is different with
1 i I r I i I i
more so.
246
CHAPTER m.
ANTICIPATION (ANTICIPATED TONES).
341,
m % i^ -^
clear that such discrepancy, which is not even prepared, must pro-
duce a more harsh and decisive effect than the prepared suspen-
sion. We
have to consider well, therefore, if the introduc-
tion of such effects corresponds with the object we have in
view.
Sometimes it is the consistency in the progression of our
voices, which leads us to anticipating tones, as for instance in the
following
where the upper voice pursues its own course, and thus blunders
247
upon the tone e, •which belongs to the succeeding chord, c-e-gi, in-
stead of the dominant chord which accompanies it.
Sometimes the anticipated tone is merely intended to add
rhythmical vigor to the succeeding one, and cannot be considered
as belonging to the chord in which it appears. Thus, in the
ancient cadences,
343.
~i\
f=
r
in which the anticipatory c acts merely rhythmically. Or, by
means of anticipation, the figuration of a melody may become
more animated, as in the following
344.
And
makes a
— —^—#
i^f=f^ g.
r r
again these anticipated tones are used^
decisive entrance.
:
Pis'-
^ when one
Thus, Spontini, in the overture to
voice
345.
JVinth Part.
The Pass.
346.
we
f
see the treble pass through all the tones of the chord. It pro^
ceeds, consequently, in thirds. But knowing that the third is in
reality nothing but the third degree, and that another degree lies
between it and the fundamental tone, can we not include this in-
termediate degree in our melody 1
347.
We go from e through d to *.
CHAPTER I.
348.
m
Instead of the prolonged tones of the chord we might have re-
349.:
350.
.^^
n
the repetitions of the chord have also been here employed.
This leads us to something entirely new. We see that the
last chord does not fall upon a harmonic tone of the melody,
but upon a passing tone, h. This is not as satisfactory as the
former arrangement, though the fourth chord is in reality nothing
351
^ff
250
the twoy^'s are passing-tones, while the two e's are participant-
tones, a distinction, however, which we consider as unessential.
Had we tried to avoid the participant-tones, we might have
achieved the same object by a different rhythmization, perhaps
353. ^
P Tf
^
w^sM
*=f
This has led us to employ two passing tones in succession. In
reality we have done this already in No. -349. Let us now con
trast the repetitions of one and the same chord
355, iS^Eg^
i
it is nothing essentially different from No. 350, and we see the
whole scale accompanied by one single chord, in which we con-
sider d, f, a, and b as passing tones. But we are by no means
confined to the tonic triad. Here,
356.
i
^MM=i I.a.
23
1
is the ascending and descending scale with the accompaniment of
251
357. A.
dz ^.^M^ .i-
IM
f'^mw^F^--^^^
11 — V=^- 1 1 I iJ-J-
^ -0-0 -»-0:^
tMi ^^ 'i
fSEi^ tt Fi
D
J
i^ j#-*— aL
I 1
y=ri
i
?l^§fe
^ t==|:
F
Why, at A, have we not filled out the bass ? Because it would
have produced a peculiar kind of octaves,
358.
i 12*"
'^J
252
(1) which are even worse than the open octaves at 2. A similar
case would have happened at e between bass and alto.
Why, at B, have we not filled out the bass 1 It would not have
been wrong
359.
f
but the seventh-succession between alto and bass, and the accu-
mulation of passing-tones in the three voices, would have given a
dragging character to the whole phrase.
Why, at c and a have we not filled out the alto 1 Because in
the first case we should have caused consecutive fifths between
treble
and
and alto.
360.
CHAPTER II.
-^^
This gives us much to consider.
Firstly, we see passing tones employed, which are foreign to
the key.
Secondly, we see the small space of a third filled by three
passing tones, and thus are led to take the whole chromatic scale
upon a single chord.
362.
363.
iiitS33= 73SZ
t)- S>^
-&
:^
iatfl a=1= ^^ i^ :fe
i I I II
'''$ Bd=^&:j
P
^ =5F
i I
but a leader from one tone (c) into the next one (d); we might
say it raises itself until it reaches the d. If, according to this,
What we have just now shown in the upper voice can also be
done in every other voice. But we must look out, particulaiiy
in the middle voices, whether there is room for these passing tones.
365.
M\
'^^m
:^=^^^^^^B3E&=|
255
366.
JEEJ^^fei^ i
i '^0-t-f^i—-
rr-fi
w¥^=-y
f^f^F -f-
seIe S F-
?^|:
In order to
r
make this phrase richer, we have introduced some
suspensions, but we have by no means exhausted all possible
passing-tones. For this would lead us into false progressions, and
would overload the phrase with foreign tones. The treatment of
the thesis may serve as an example.
m^ ^^^s
368.
i-
256
i
a are resolved into quarter-notes at b, and into
the half notes of
But between e and / we can gain no such ani-
eighth-notes at o.
mation by the mere passing-tone, because there is not room for
^
one. It is true, we might avail ourselves of tone repetition, or of
a harmonic by-tone
370. =>^
But for many reasons neither of these expedients might be of any
use. The first might seem poor, and the second might be preven-
257
^r*i I
372-
-9-
up by passing-tones at b.
is filled The d led to e and back to c.
CHAPTER III.
373.
i
i:
I If.
f
^
Z!'
?~K^>
It is easily perceived that the two-eighth-notes of the second
measure are in reality nothing but the chord ffJ>-d, suspended in
the upper voices by a-c and the lower voice passing from b to the
d of the next chord. The phrase, originally, was
374.
r
i^^^fc
r ^ f W
259
375.
W-
s ?2I
tr
r f -r
where the simultaneous application of suspension and pass has
preserved the flowing progression of all the voices and the dia
tonic progression of the bass.
But since the passing-tones now actually begin to play a part
in the harmony itself, to which, originally, they did not belong,
they are also applied, though merely
pseudo-harmonic tones,
u --^
377. Ei
-e>-
^ -cr
-yri&—
"cr
H-ge \-^
-^
merely to remind us that even cross-related passes can become
suspensions. The passes can also become
2, new chords,
378.
m
:|bi-
3E Eti^d=^
f=
r
The triad has now a superfluous fifth, and owing to this circuni-
'
stance this chord is called
and it can be used in all its inversions, and for the formation of
new sequences.
380.
rrr^'
Since the dominant chord is nothing but a major triad with
added seventh, we can embody with it, also, this superfluous fifth
(a), and use the new chord ff-b-d'jf-f independently (b). It fol-
cend.
S81.
'
'.J
MM. -^
tiP'e—-
f i^
Knowing, further, that every septftne-chord is nothing but a triad
with added seventh, we might apply the same proceeding to the
major septime chord. Here
261
-i
382.
M.
I'^m^- ES£ i
we have made from the chord c-e-g, the passing-chord c-«-^|, and
by adding to it the seventh, we have obtained the septime-chord,
(•-e-jijf-6, which we might call the superfluous septime chord, if
383.
ibAi ibA.i
E^=^
We have done
f-
it at a ; at b
W--»-
we have
m^
f^^
placed the passing-tone at
once on the place of th^ proper harmonic tone, and thus formed a
new chord, g-h-d\,-f, which differs from the dominant chord by its
depressed fifth, and by the absolutely necessary descension of that
interval. And as we formerly made a diminished triad from the
dominant chord, we can now make a triad from our new septime-
chord (f) which is even smaller than the diminished triad, and
which might, therefore, be called the double-diminished triad, if
with this, the same name was given to another chord, d\>-f-a\i-b, which had
altogether a different origin, and thus, sext-chords, terz-quart chords, and
quint-sext chords wei'e all thrown into one category. This name is not
only superfluous, but it is absolutely unsystematical and confusing.
262
$M
385.
^-^
386. ^ Ife ^
-&-
Finally, we
r
are led to harmonic formations, in which the for-
merly unlawful quint-succession appears purposely and with good
effect.
387.
^V5 ^ '!fn-
^- fc
1'^^
iZ-
$ "ST
-e-
fe t^- -xsr
•ST
"C3"
f
We know that the diminished septime chord (b) arises fronj
263
can even be used, as Mozart has done, and with good effect, in
slow movement.
:^-
388. *; m^^
E i
fe .-&-
too close upon another tone of the harmony, if the two resolve in
one and the same tone, the resolution of the chord brings about
something so forced and confused that it can almost become in-
comprehensible. TJie successions of No. 383 and 386 are well
admissible. But the same successions in a different position
T T"^
are useless and wrong. Thus, is the passing-chord d^-f-a
E^tlli
ff &
389.
F=> j
T-r
quite correct at A and b, while at o it is spoUed by the position.
But let us return to No. 388.
Why are we justified now in making use of progressions which
we formerly denied ourselves? Not merely because we now
264
consider them agreeable and fit for use, but because we have noTf
been led to them consistently, ailalogically, instead of owing them
to accident.
Here is the point whence arises often the greatest error. We
say the greatest, because active minds often seize the new and ir-
regular instead of the nearest, and thus cut off at once every fur-
ther development. But we must warn, also, against slavish obe-
dience to the letter. Every artistic nature has within it the im-
pulse to free itself and to become independent ; but reason must
decide how &r a deviation is admissible.
And, finally, we see in the passing-tones
3, the means of modulation,
or, at least, the introduction and preparation of transitions.
Here
Jfl
390.
P --F
^ 1^ w
we see a phrase beginning decisively in C major, but modulating
in the third measure into G major. But already in the second
measure does the passing-tone /jf indicate the subsequent G
major, so that it hardly requires the dominant chord.
!
' J J I
' J_J_ j \ . 4
392. i
:*=*
r^ 'f
Tenth Part.
The Treatment of More or Less than Four Voices.
CHAPTER I.
393. & 2
$ P=f
:
-JF
I
We perceive that the final chord of b has lost the fifth and
th.rd, unless we prefer to end with a sext-chord.
The duophonic accompaniment would be still more meagre.
We could employ the natural harmony,
395.
m-wri
1 1
397.
^^m
We know,
tones the
rnffT^^Tf- ^m
w
too, that by means of added bye-tones and pa>.i--ing-
harmony can be completed, and the voices made more
flowing or animated. Instead of all further explanation we merely
give here a single illustration,
-yy—h i— d "
:^^^
398. ^
^^-^ Li'j ^^
CCj'
F-^a-
^^m1
269
399.
^feg^
can easily be mixed with the harmonic tones.
^--^^ i
-f:^
We have,
-S
t£?;
there-
fore in reality, the means for every harmonic form, and conse-
quently can distinctly express every turn of the modulation.
Thus we see in the following monophonical ritornel of a concerto
by Sebastian Bach:
400.
gfe^^- ^^J^E^ m
^±itijiqc rn^Mm^^^^
that it contains all essential points of an energetic modulation ; the
tonic chord at the beginning ; the turning to the dominant (mea-
sure 2 to 5) the modulation into the subdominant (measure 5
;
CHAPTER II.
All these rules are so clear and consistent, and have been pre-
pared so much already, that they require no particular practice,
272
401.
at A,
w^m
we have written a simple melody with an a<«iompaniment of
six voices. At b we have arranged it ootaphonically, and have
introduced a somewhat richer modulation. At o and d are two,
more treatments of the same for seven voices. We have every-
where taken as many voices as we could introduce without diffi-
culty. It is practicable enough to
• add still more voices. Thus,
we have here
273
^^^^
B
402.
i ^ i^i^
-°-#-
g^ B= 1
BE
^m^ m^^^
-•.9^ -4 ^
e=
^^m^- *=(:
though much less connected. The other voices were added as well
as we could. As a matter of course, we cannot always finish one
374
where a voice seems particularly apt to such treatment, as, for in-
stance, the voice 8 in No. 401, or, when the general arrangement
of the voices permits it, as in the following
-i.
i:
-4-S&
-3-g —
w -e-
403.
i=s
-J- zz^sz
r-*-
In conclusion, we will now gite a
Y
hexaphonic (six-voiced) treat-
ment of No. 396, with slight alterations of the upper voice.
^W ^ --^
J-J-^
e^ f--^BJ.fi^'.^J^.J_J_,gj. 3t=t &
^^ ^rff-r*=nfTi^
275
rm~im r
It cannot be denied that the whole appears overloaded, and
though at some places we have obtained a greater volume of tone,
the phrase, as a whole, is by no means an improvement on the
would teach us
that even in the number of voices simplicity and suffi-
Not easily will a composer overload his work with voices, with-
out a particular and sufficient reason. But even under the exis-
405.
406.
All this demands no new law, and requires but a simple consid-
eration, which then, of course, refers to the real polyphonic com-
position, also.
The united choirs must appear as a whole ; not merely all to'
gether, but each choir separately, and at every separation of the
single choirs, the fact of each one being a whole, even when they
are all combined into one grand whole, causes us to conceive
each one separately, as long as we can distinguish it from the
others.
From this it follows that we must treat each choir as an inde-
pendent whole, characterize it by good upper and lower voices,
INTRODUCTION.
First Part.
The Accompaniment of the Choral.
they have been the armor of the church at the time of the Eeforma-
tion, and with all these reminiscences, with all this power, they
will pass on to posterity, perhaps for centuries to come.
Even now, and ever after they are mixed up with our life,
We have already said that one and the same choral can admit
of many different treatments, each of which'from its respective
point of view can be correct. But there^e three points in par,-
ticular, from which we have to* consider our lesson and to decide
upon the treatment of the choral.
Firstly, it may be our object merely to accompany the choral
melody in the simplest manner. In this case we should choose
such harmonies as are most easily attached to, and best support
the melody.
Secondly, it will soon be perceived, that every good choral
melody expresses a more or less decided character, and therefore
has a typical significance. To make the exposition of this typical
character the aim of harmonic treatment, is an artistically higher
task.
Thirdly, we can make it our object, not merely to have our
treatment correspond with the general character of the choral and
the words, but to take into consideration, also, the character of
each single verse.
Thus much as From every point
an explanation of our lesson.
we can accomplish our object in vari-
of view, in material respect,
ous manners. We can make it
1, more or less voiced we shall generally prefer tetra-
;
phony ;
CHAPTER I.
m^hnn^rr^^
Ima.— ,
^
3da.
s m r^.
it*jt
^ Y=x:s=i
m^-
S^^^S^feEfEgfe
:^
/TS •
m • rJ -*
^a^F^fTflPq^^j^^gEi
Jtf/- >t^*^ ,
J'^^^w.^it^ <'/
^twv,e;i,
^^^i^te
r M^-g
^ Bst -• —•—- m^m
F;=p=?^
|g^F^ i a—p-
^
i ^S^ii
2S8
jE3ri:=pitf:^
iifi'-^*-
zfr. f f r
i
i ^£g '-¥
cl^cJU.f^'y^
-0-m-
^
^r^^^^^t-d^CUkM
m
nr^¥T^¥=f
Ol^
^^^^^^
,
*—m-
a
^,P,,,,^„./de;fe6-»*v HCyrr€^t dJiu^ CA/ frV^ o«-^
^s^gfe ^
^Tt^ i^S3
B^^f^fPs gg^F^a
*
^^^^^p^^iil
,^^^, Je//*^!^'^»-^''^«^*^*^
i^^S
-1^— i^
i
=#^ ?=P=f=
289
-i » d
:ri ^p&ir^
M ^ F-F
^^^^_^|lpJ^
d=
:^tj:/^^. ^ :^--4 . 1
Oh
^p= f^
fe=-Hfe=grL=:g|
iEgre i=S:
! I
'Sl 3E
it^z
^
T .^_f2:
ff^f^Ff > -^-J¥
l-X .d..^_
.is^^s-
d:
^=3
T m P=f f-V"
tJEPfei
€—-§-
f— 3e&e^ f-^:
•^^-?^-
l^r=^M-T^ tP2-~
290
The second part repeats the first two strophes of the begiimingy
and thus causes another beginning, while it indicates at tmce a
division of the choral into twice three strophes.
If a choral has this two-part form, we close, if the melody per-
mits it, the major melodies in the dominant, the minor melodies
in the parallel.
Each single strophe of a choral has again its close, which by
means of pause or interlude, or voluntary retardation, separates
that strophe from the remainder. Thus we have to treat each
strophe as a separate part of the whole, and to close it with
either a half cadence, or a full cadence ; we consider, therefore,
the end of each strophe as a resting-point of the modulation upon
which the latter breaks off, more or less satisfactorily.
We must reflect well, therefore, at the end of each strophe :
nearest and most natural, and most appropriate for the progres-
sion of the whole ; and, finally, which conclusion would be most
in keeping with the character of the choral, and consequently the
most preferable.
B. Summary of Cadences.
The importance which these strophe-cadences, as chief moments
and end-pomts of the modulation, have demands a care-
for us,
ful preparation ; the more so, since the numerous strophes of a
choral demand so many different cadences.
1. The full cadence, from the dominant chord to the tonic triad.
Instead of the dominant chord we might also use the major or
minor nonachord, or the derived septime chords, (these, however,
form but imperfect cadences) even the dominant triad is admis
;
407,
i =F
and is called "ecclesiastical cadence." It is evident that this
291
408.
i -F "ST
r
consequently of two chords which are not even harmonically con-
nected. However, imperfect such cadence may be, it must be em-
ployed occasionally; we have employed it already in No. 105,
when the periodical construction was of minor importance, and
we have employed it on different occasions to close the thesis.
All we have to remember is, that the final chord of the half-
cadence, whether in major or minor, must be a major triad, be-
The last tone of the final strophe, at all events, must be part of a
major or minor triad ; and we know that the last chord of the
half-cadenoe must be major. Let us now survey all possible
cases, considering the last tone either as fundamental tone, minor
or major third (in the half-cadences exclusively as major third)
or fifth.
409.
p
E.C.*c == 1
293
tone, as here
411.
i
i^^l^
BE
^-
^^^m
m t %FM^^F^
goai=gjJ
J J
a m
at A, or to attach the
f^
whole cadence to the last two tones, as
at B.
And now only, we ask which of all the possible cadences is
"^<
j^ .^_^ ^
fc: =t "t
412. ?^
W=3k±jt^r=^
^# —P- P f
^
Signature and end-tone indicate here the key of 5b major ; the
stands for " fundamental tone ;" 5 stands for "Fifth." The formula is thus :
might also end in the parallel {^G minor), and it would matter
but little that the cadence would be imperfect. But, according to
our principles of modulation, this digression into the parallel comes
too soon.
The second strophe closes, as a first part, in the dominant. The
nonachord f-a^c-e\i-g would enable us to close it, too, as the princi-
pal key ; but, apart from the opportunity to end the second part
satisfactorily, a repetition of the close in the principal key would
have been lame, and would have confused the harmony, which
evidently inclines towards ^ major.
The third strophe, too, might be ended with a full cadence in F,
by means of the nonachord e-g-i\)-d, but here, too, it would be a
mere repetition of one and the same cadence. We might close
in C minor, or even A]) major, but for so small a phrase this is
• p -0—0- irz^zs
413. F-*
i
% —F—
r-
—^-
^ -»
i i
295
i
* ::izz±zd
bizfz
may serve as third and last example. This melody offers some
slight difficulty, because five of its strophes turn towards a close
in the tonic, and always in the same manner, by a, g. In order to
retain always the most simple, we should have to remain contin-
ually in G major ; even the penultimate strophe is appropriate
for a half-cadence in G, though inclined to modulate into D major.
But it is clear that simplicity would here lead to monotony.
Let us admit at once, then, that the penultimate strophe leads to
D major ; and the question is, how shall we make the other
five cadences The ot, g can be employed for a close
t.
CHAPTER II.
415. ^f^k^i^. s
i ^ f^^= r
1=
=M
T- r
'^: mi r f
For, owing to the preponderance of the outer voices, such succes-
298
1. To give each tone of the melody its own chord is the most
simple, it is true, but often, as in No. 417, a chord can be re-
tained for several tones of the melody.
2. A tone of the melody can also be considered as suspension,
and consequently as a part of the preceding chord. Thus, for in-
stance, the last strophe of the choral. No. 1, page 287, might be
treated in this manner :
A
i
J=L=i .
416.
BEl
m
3. The tone of the melody can be considered as mere passing-
tone. For instance, the ending of the third strophe in No. 414,
might be treated thus
417.
^^9\
A
^t
J.
A I
5S
m
Neither of the above are, however, as vigorous as the employ-
ment of a separate chord for each tone of the melody.
4. We meet occasionally, as in the third and fifth strophes, of
^^^
418.
or thus.
1=
w-
SSfg I
~cs-jitp=rz:5=l
rrr-r
I I
e^d^P^I^EfePE^^^Ei
^ i f^
When a syllable has two measural parts, but different, tied notes
(for instance in the first and sec-
penultimate measure of the
ond strophe in No. 414,) these two tones can have a single chord.
But it is more customary and vigorous, to give a separate chord
to each tone.
5. We iind occasionally (for instance in the penultimate mea-
sure of the same choral) a measural part divided into two measural
members —two-eighth-notes instead of a quarter note. We can,
in such a case, treat the one or the other tone as passing-tone, or
we can give a separate harmony to each of them. The just-men-
tioned instance might be treated, therefore, thus :
419.
^^^8p^^^3 ,Ji5,^
s
I I
?=FK ?*£F= r
Each of these conceptions can be right in its place, though the
treatment as at a or bis more common ; but the question is
which of the tones shall be the passing-tone, and which the har-
monic tone ? If the progression of the melody does not indicate
the one as essential, the other as added, we follow the progres-
ural to begin with the tonic chord, and to the first /of the melody
we shall take, therefore, the chord bh-d-f. And now we have
to find the harmony between these fixed points.
Three times more does the / appear in the melody, and we
shall find the mere repetition of the same chord too monoto-
nous :
J. .1 A 1
420. HF¥
r '-^
or its inversions too trivial for the chorals. We must then intro-
duce new chords.
The nearest, and, therefore, best, is the triad of the dominant.
The nearest step, now, is the chaflging of the dominant triad into
the dominant chord, which, then, leads back to the tonic triad.
We have now found the following fundamental bass,
421.SEd2:
^
but shall prefer a more pliant inversion.
probably the one at c, because those at a and b end with the same
tone with which they began.
There remain now only the tones 6b and c ; the former might
301
be accompanied with the tonic triad, if we had not just had that
chord, 01- with the subdominant e\!-g-b\), were not too soon for
if it
423.
r ^^
=^^
6 2 6
m 6 7
3=
in that voice.
Obtr
424. r :t
the same chord But the greatest loss would have been in the
!
tained it.
the new key with decision. Its first tone, c, yields under any
302
i
fe^=r
'25. i
msE
^ 2 6 6 5 7
-©-
S 4 3
426. 6 4 5 7
^=E
»
7
6 6
S=E
r rtF
i^i
which -vrill require some few remarks ; that there are still other
harmonizations possible need not here be added.
At A, the secunda chord e\,-f-a-c issues immediately from the
preceding final chord, f-a-c, and in accordance -with the nature ot
cause we modulate into the subdominant, £}, major, and thus as-
cend to the principal tone. It is only in the penultimate mea-
sure, when this principal key becomes decided.
the bass tried to avoid the return to its first tone, {/, g,/)j
At c,
take the triad of 5b, but in that case the bass would have proceed-
437
/—fi-
^ ^^f~^'~f~r~
?'=F^
uJH'
:^=i
or I 1
I I
J
3E5
;^E
could be easily mitigated. We might have avoided it altogether
by an alteration of the bass {//|, instead of a/j(), but we should
have lost by it the symmetrical progression of the bass. We
might, also, change this obnoxious /| into /, or, in other words,
change the major sext-chord into minor ; this would give a more
serious turn to the whole strophe, and would be better concluded
in the manner of a, than that of c. Prompted by the foreign
triad, we might also turn to C minor, and conclude the choral
thus :
b:
-&-
428. I
OEfc :^=t3p:
3
^ -&-
5
if this foreign and serious ending corresponded to the words or to
any particular intention. In that case we should have made a
modulation into the parallel of the subdominant,' and at a point
when foreign modulations, accordhig to rule (page 211), are not
in their place. This makes it advisable, in the penultimate
measure, to touch once more upon the key of the dominant, and
thus to return gently and quietly into the principal key to end
there.
305
CHAPTER III.
49.ft
7f r-
306
430.
i tfEfclHE=E| m
m zMzziL
6 6
^=
Tl6 6
432.
^P^
*
III.
A^-
-^-d=^\-t=i^*=-*^^-
61, e\,
3
II. 61, eb
t
i ^ -»—*- icipz -&-
-e —
IV. / 61, I. 6b «b -
the first two strophes of which form a first part, and are repeated
as such.
_ , We first fix the key, ^1» major, and in accordance with it at I.,
the close of the whole. After this we decide upon the close of
the first part at II., and fix it also in the principal key. For it is
parallel after all. We decide now upon the third str6phe ; if the
K n^liM
I 1 1 ) I .
. I I ' I.I
433.
d_d_ '^M=^
S jc:p:
t=f=,^F=F=iF*F=*=^ff=r
r
1^ *:
te^E^ti 3=*
g^h*—*— - ?="Pl^
m
308
$s r
^
the remainder confirms the just-mentioned principles.
;r^^^=F^=-P
^E± ,^j^^£La
J.
-0-p^
-A
p=^ W^.
" Thou, whose tears were flow - ing, When Zi on
^ --^hd zt :i
—=^
SS=^
& F
'A
-&
?f
was in sight, Re - solved on deeds of e vil, Ap-
309
h rJ rJ
^sA
J_J. J- J SJ J :J J- £ .£2_
-JO-
proach-ing its
f^
de-cline. Wliere is the oBve, the val
^^ -i -^-
M
i
J
f=^E|g=f^=f-
J
-M: d=
^
I I I
.J-
OEE :te
:^ fiP=
^ And ye
ley That hides thee, Je - bus, Lord? for
fe=^i=-i:
ffS
i -S>
2^=
^S now
A. M: J
?3I
zL_d_J_^
his
:?2=
blood
f-=P=
on your
blood thirst - ing. Is
H- g^^^
^S P¥^^?%=f=-^
soul! Is his blood on your soul?'
310
CHAPTER IV.
434.
g g^^i^^l 11*1, I 1 I ^ . KJ J U-U 1 h^
i=J=J=iy:d=J=3=Ti
H^f-S*rrT-^r-*n*^-7?
M^ ^m
*
fc±;
and we
*==rat£=?LjU !^
^
see,
It:
W-
Treble and Bass are outer voices, Alto and Tenor are middle
313
voices. If there are several trebles and basses, the highest treble
and the lowest bass are the outer voices.
The outer voices, in the first place, have the most space for
their movements the treble above, the bass below. They are,
;
it must not be one of the outer voices, unless for some very im-
portant object.
The middle voices are enclosed on both sides, the alto by treble
and tenor, the tenor by alto and bass. Their character is, there-
fore, less free, their movement must be quiet, and their progres-
sion rather in smaller than in larger steps. Sustained tones and
suspensions are principally their property ;
progressions in large
steps should not be suffered, except for some particular reason.
When we now approach the particular character of each voice,
and bear in mind the representation of the four principal voices, we
perceive that the four voices form, as it were, two separate
couples
Treble and Alto, the female (or boys') voices, and
Tenor and Bass, the male voices.
The Treble is the upper voice of the first couple, the Tenor the
upper voice of the second couple. This observation enables us
to enter more deeply into the actual character of the middle
voices.
The Tenor, the original upper voice of the male voice-couple, has
lost the freemovement of an upper voice, in consequence of the
existence of a higher voice-couple, which made it a middle-voice.
But ofi;en, even if but for a short phrase, and particularly in
and instead of seizing upon the nearest,' it departs from the higher
voices more than necessary, or ascends beyond the alto.
The Alto is the lower voice of the upper voice-couple, but it
lacks the manly vigor of the b^ss, and the space for its free
movement. Thus, it is absolutely middle-voice, and preserves a
certain passiveness against the inroads of the tenor, clings more
to the upper voice, and moves niore quietly and cautiously than
any.
The Bass, on the contrary, is a free, and manly, and vigorous
under-voice, and loves a dignified, often bold progression. As
such we have known it in our very first attempt at harmoniza-
tion, and as such we have tried to preserve it. It, too, sometimes
breaks in upon the other voices, but then it is done in keeping
or
435.
'ii
yfejj:4tuxi
M^i i jrr^-i
m J il l!
^
3L
;:
-^JL
?^¥^
I
p^
mmm ^ J.
n
Jjv
I
?
./j^_ jv
'^
1
m J
BEIEPE^^i;
t
^ gatEEEf
r
is the first chor&l treated according to these principles. The
most conspicuous moment of the above is the end-tone of the
second strophe, which strophe is afterwards repeated as third
strophe. This end-tone lasts three beats, and a single harmony,
however much varied by suspensions or other means (as in No.
431) would not satisfy us; we had to employ different chords, and
reserve the cadence for the last beats.
The modulation of the first two strophes is the one which was
nearest. In the third strophe, in order to avoid the monotony
of a repetition or a halt, we thought at first of the key of A ma-
jor as dominant of D
; but A major being too distant from the
principal key, we preferred A minor (the parallel of the subdom-
inant), and resigned even this key in the very next chord, e-^-S.
1
436.
m ^-^¥? =*-«-
•#tfi«p:
i j5;CTi;^ji ,_j-ji4C^
S
%^*^f#^^^
437.
u
*Hl m g?3EEE* ^- I
318
:i=^
m^ f-r-r-
'^^^^m^m^-
The importance of the choral, as an educational medium for the
student, and as a part of the religious service, prompts us to re-
1. TECHNICAL DIFFICULTIES,
438.
m
m -G-
f=FF ^m
F?
Unfavorable to dignified, ecclesiastical harmony, are such melo-
dies or parts of melodies as cling too firmly to one single chord,
and thus threaten to exclude other harmonies. Here
439.
^P^^^ rf^f?f*^rf^^?f
is
cally,
^^^^^m
such a case. At a we have treated the first measure triphoni-
and the tetraphonio harmony of the next measure is the
more effective. At b Tve have balanced the skipping unsteadi-
ness of the melody by the calm steadiness of the harmony.
the melody and influences the other voices and the modulation.
This current cannot be seized by touching upon all possible har-
monies, but by a steady development. We must consult what
harmony is the first upon which the melody insists, and thence we
move on steadily, without rest, never remaining stationary with-
CHAPTER V.
wide steps, inclining towards below, will be better for the bass.
The tenor, in general, is most suitable to take the cantus firmvs.
Having made our choice, or having a choice made for us, we
firstfix upon the plan of modulation, sketch the harmony, and
i^f-^-fe^;
440. P f=5^^=f3p t ^
B^ m—r»— —'-^ J—r^M p—• -r»—
S f- ' d *
EPS
323
We
perceive, first of all, that on account of its tone-region and
moderate movement of steps, the cantus firmus is particularly ap-
propriate for the alto ; the seventh and eighth measures only de-
part from the character of the alto. Considering the whole, we
find confirmedwhat we have so lately said, namely —the insuffi-
441.
s^^^^m
I 1
f-f-r-frg
442.
i T.^
I
j
I
.J J J-
eis
^&%=7^^ ^^e ;fii
i^:^^^^^
rfcl
m-r zmi '
-i
-
W7"
3=
iSfT-f-
:d^:
sP
J- -J-
et-i
s^E^^^i^
l^rt^^^
Jill n-^:ff^r7-*F->,
I
I
J J- J I I
F=
r
C. The cantus firmus in the Bass.
not avoided. The reason of this lies in the fact that most melo-
dies are conceived for the treble and tenor, and that consequently
they end with the step of a second ; the above, for instance, with
c-d, c-5b, a-g, very rarely with the step of a fourth or iifth. It
the pedal point. But of either means we must make but a lim-
ited use, or the whole will be overloaded and spread. We take
a former choral as illustration. Its high tone-region makes it
325
fc^
^E:Je^P^SEF^=
£p#
443. '
?^-?=
spppspp^i fTT
— I
I I
I
F-
±^^ z^ :* d_J.
IE
W. ¥^ i ,
=p ^E
r-iKj I
3i
I I
^
^Efe=^
--¥
-© - — •-
M==f^ SE
IE
T-
^ r
First of all
f=Hi kSljr^
we have
g reinforced the cantus firmus with a lower
octave, an addition which does not change it materially.
i-
r-
1
CHAPTER VI.
book.
factory duophonioally.
The reasons for triphonic or duophonic treatment are either ex-
ternal,when we have not more voices: or internal, when this sim.
pier treatment conveys a particular expression ; for instance,
ticular voices, for instance, two female voices and a bass, two
male voices and a treble, &c.
voices, the more distinctly will the feults and merits of each be
preserved.
the voices together, and to limit them to the most necessary in-
tervals. Thus the following choral might be treated in this
W
manner
444.
m#». &?:
iy= 3
I1 f=lS
I r
f ^- r
n
The second and third strophes hegin with a suspension, under the
supposition that there is but a small or no pause between.
If, for particular reasons, two more distant voices are taken, it
will be better to give to the accompanying voice a peculiar char-
acteristic; for the two voices, under any circumstance, will not be
well connected. The above phrase would, therefore, be more ap-
propriate for treble and alto, or tenor and bass, than for treble
and bass. In the latter case it would be better to construct the
bass perhaps in this manner.
446.
E
II
m^^^^M
is
fe^^ggai
:SE=3
i¥ =?2:: i
'P?>n*^ fE-:^
2221
m -jt=zt^zJlzjt
gE^^jE
The voices in the following are developed in a richer and more
mobile manner.
^:^=y
447.
BrRr-^h—'^^--hp-f--^-ff]fft»-j> _
— »-
SF=%f
I
J=J=-Lt^^.jEdEddEJEJ ©--r
r-^^ i^n
l}J_:f:_l^_^d;.d_
SS
t^fe
r
The triphonic choral is also well fitted to have the cantus
firmus in the iower or middle voice. This requires no instruc-
tion, and simply as example we give here the above ohog^l with
448.
mEfS^^^^Pfe3?E^3E
'& P
e^FJq:^fej=-FP^J=!^"PT»^j:=fc^d=i
=F^ P^ t^ztpz
CHAPTER VII.
We
have always maintained that a choral (or any melody)
can be treated in various ways, and that there is no absolutely
best treatment possible, but that object and circumstances give
preference at one time to one, at another time to another treat-
ment. We
require, therefore, the capability and the facility to
harmonize a given melody in various ways.
Wehave given the means in former chapters, and can add
nothing new, but we repeat here that the practice makes us con-
scious of our powers, and we now merely indicate how the most
manifold treatments can be obtained from a single melody.
There is an external and internal variety of treatment.
The external variety consists in the fact that a choral can be
treated duophonically, triphonically, tetraphonically, and poly-
phonically that the cantus firmus can be placed in the upper
;
voice, the middle voices, or the lower voice. These are the ex-
ternal forms of choral-treatment, as far as we know them at pres-
ent. Each of them, however, can be carried out in the most man-
ifold manners we can make use at the same time of different har-
;
most important for us. How can we always find new modula-
tions and harmonies, without trusting to chance ? The reply to
this question and the necessary instruction, constitute the con-
tents of this chapter.
In general we can only repeat what we know already.
We first ascertain the key, and fix upon the principal mo-
ments, the ending and turning-points of the modulation, accord-
ingly. Next to the principal key we must ascertain of what
modulation the close of each strophe admits. Here we take the
nearest and pass thence to the more distant. And to these
first,
449. fc
Sgfefj?2=S=i
cSasS
*-•-
yap^
iWe ^EfagEf:
shall
-0-0.
.0-0-
-• • 0- -0 a •
^rr f=±f
450.
« J-
We have taken the tonic chord for the first two tones, and led
the bass in a higher octave. Let us now attempt to lead the
bass in an opposite direction.
333
1 ^fe^l
451.
TIT rfr'=FT=f
jlj
=t
rf
The bass ascends rather far, and forces the middle voice to an
equally passionate ascension. Ifwe were to begin in this man-
ner, the following strophe would have to avoid such exaggeration,
but in its stead we might exhibit a more marked direction. It
might, perhaps, be thus
^lf=i- 1r
A i^
452.
m- i^^
£^S
I al
453.
^
^^
Jl A- -d.J-J-d
;fe^|
,iV I
f=F="=r=r
1
-d .4.
I . I I
£
f=F
The bass, from the fourth tone, might also have proceeded in
thismanner
454. m
^^"^'
It:
6 7 7 6 6 7
k fe-^E ^E
i :ttP=
455.
m i E^;
I 1
456.
m^Hm^
tt
rj
r g^
The bass descends here chromatically, and ascends again diatoni-
cally. But there was no need of discontinuing the chromaticpro-
gression ; we might have continued thus
* rJ=i
ii i
P^^^^-
45T. 1
m J^J .5-^
-g**'
ipi
and this
r
would have enabled us
=F
to close in the tonic, instead of
modulating at so early a moment to the parallel. If we were
to continue either of the above, we should prefer a diatonic pro-
gression, because the chromatic progression would embarrass us
by the smallness of the steps, and by their being harmonically so
unlike. We should, perhaps, continue thus :
458.be
3 6
mt
8 6
t g^fe
4 4
335
& teS^^f^
^
459.
l-j&i <M
mi &
r^=£ff=mT
1
0--
=Wp: » — »-
m^^^^
f=^¥W^
460.
But
m
it lies
-i
much
^^
i.
nearer
3=p4
to- consider
^^.
?="r^
:^
.i
r
the g as third of e. As
such it leads us to the parallel of the principal tone. Here
461.
P W^-
r^-tfT-^OLili
a?=
1
m
?^
we have just touched it, without remaining in it. Bach has em-
ployed it thus, in five treatments :
462.
^i^
=1
rr—rrrtr ^^Pi^*
rr-r
gai^^gi^-^gfepg I I
'
463.
r—r-
'^^i^Lj-J-L-ki
mz ^
We have attempted it here twice. At a we have developed
a consistent progression in the bass. At b we have retained the
tone b in the bass, and the middle voices were consequently in-
fluenced in like manner; and from the chord i-t^|/| we have been
led to the superfluous triad g-b-dl^, or rather its sext chord.
But we have gained enough from this simple melody. A re-
trospection upon our work would give us the feeling of the young
anatomist, who was forced to bury his knife in the most charming
formations of nature. He followed the path of reason and
searched for knowledge.
We have only been able to indicate rules and facts. Every-
body who has followed us attentively thus far, will see at once
Second Part.
The Chorals in the £leclesiastical Keys.
It has already been stated (last part, chapter I.) that many
chorals belong neither to our major nor minor modes, but to a
former system of keys, and that they cannot well be treated ac-
tells us, for instance, that a perfect full cadence (with tonic in
the highest and lowest voices, and the final chord upon a rhythmi-
cal chief-part) forms the most satisfactory ending of a composi-
tion. But the antique melodies exhibit attempts of not ending
with the dominant chord, or not upon the tonic harmony. Nay,
the tonic and its harmony is often not even the basis, the begin-
ning and end of the whole tone-movement.
339
and
c, d, e,f,ff,a, 6b, c.
c d e f g a b c,
But the steps and half steps were not of like proportions ; cf
^# and gjjl
could not serve for d\,, gb and ab ; bb and «b were dif-
upper keys were introduced for these tones, which led to the even,
temperament, the principles of the old system retained their hold,
and reigned until gradually the modern system became predom-
inant.
340
It is also known that the ancients did not make use of so many-
chords, suspensions, passing tones, &c., that their voices were not
generally carried out so richly and perfectly as those of our time.
But since we shall see that the element of their system did not
consist in this, their proceedings will not be binding upon us ; we
shall write, with due regard to their essential laws, as our object
permits us, or prompts us to.
CHAPTER I.
but this scale not even admitting a tonic triad, it could not be-
come a key. The names of the above six keys were :
1. Ionian, from c to c;
2. Dorian, from dto d;
3. Phrygian, from e to e ;
4. Lydian, from / to /;
5. Mixolydian, from g to g ;
6. jEolian, from a to a.
which must necessarily end with jE", because the next tone, B,
does not admit of a key being built upon it. The Ly dian key, if en-
closed in this circle, should find a place before C, Ionian, upon its
subdominant.
But this progression of ancient keys exhibits an important
difference from our own quint-circle. In the latter we always
progress from one key to another similarly constructed one, from
G to G*, D—in short to all major keys, and they all have the
same contents, the same intervals. The other progression, how-
ever, leads us every time to a differently constructed key.
The Ionian, exactly like our major, has major triads upon the
dominant and subdominant, and upon the former the dominant
chord.
Next comes the Mixolydian, Its tonic and subdominant ad-
mit of a major triad ; its dominant, however, has a minor triad,
The jEolian key, which has minor triads upon both dominants
and the tonic.
Finally follows the Phrygian key, which upon subdominant
and tonic has minor triads, while its dominant has neither major
nor minor triad, but a diminished one, which, as it were, cripples
the whole key.
The Lydian key is similarly crippled by its subdominant,
which admits of neither major nor minor triad, while tonic and
dominant have major triads.
344
Third, because it stamps the key minor ; 2, the major Sixth, for
Thus far the ancient system strictly follows the original scales.
But it permits also the use of foreign tones, if they do not destroy
the essential characteristics of the key. Thus the ancients intro
duced the major seventh in the Dorian and jEoBan keys (cjj and
5'{f),
for third and sixth, but not the seventh, are the essential
characteristics of those keys.
and the Mixolydian was then upon C, the Dorian upon G; the
scales were
Ff ffy ", ^Ij) c, d, e, f.
C) di e,
f, g, a, b\,, c.
G, a, 5b, c, d, e, f, g, &c.
G, a, b, c, d, e,
/|, g,
-0, e,
/#, g, a, b, c, d,
A, b, c, d, e,
fl g, a, &c.
The keys arising from transposition into the fifth above were
designated by adding to them the word : "Hypo ;" for instance
Hypo-Ionian, Hypo-mixolydian, &c.
modern system we have but two keys without signature
In our
C major and A minor. If we meet with melodies, which, with-
out signature, belong to the tone-chain of D, E, or G, we must
consider them as belonging to the Dorian, Phrygian, or Mixoly-
dian of the ancients. The signature of one flat ( b) indicates to
us the key of jP major, or D minor, but if we meet with melodies
which, though having a signature of one flat ( b) still belong to
the tone-chain of C, G, or A, we must consider them as mixo-
lydian, G Dorian or A Phrygian. The signature of one sharp (|)
indicates to us the key of G major or E minor. Meeting, how-
ever, with a melody under this signature which belongs to the
«, /i 9, «. *. «. d, e,
«) 4, e|7,
/, ff, a},, b\,, e, —
t required in the one case two, in the other case four flats. A
melody of the tone-chain J), therefore, with a signature of two
flats, or of the tone-chain C, with four flats,, is to be considered as
a transposed Phrygian.
Thus we see a series of diiferent keys before us ; each can ad-
mit foreign tones in its melodies and harmonies ; each, also, can
be represented by means of foreign tones, in more than one tone-
chain, and though until now we have only observed the external
deviations of these keys,it is clear that these must also have given
CHAPTER II.
Weknow already that the Ionian key is the only one among
the ecclesiastical keys resembling one of our modern keys
major. —But all our^iajor keys have the same construction, while
the ancients, in their Mixolydian, and, if they chose, in their
Lydian key, had two more, differently constructed major keys.
Thus the character of each, and consequently that of the Ionian
also, became peculiarly distinct.
Wecan see this at once in the order of the modulation. Ac-
cording to the principles of our modern system the modulation
in major goes almost invariably first to the key of the dominant,
for instance in C to G; this is the nearest, — ^but for that
reason also the most common, least exalting modulation. But
for this very reason, in the ancient church-melodies, it was least
liked, it was not high-minded, not festal, not exalting enough. In
fact it could hardly stand for an actual modulation. For, what
do we find on the Ionian dominant 1 Either another Ionian tone-
chain, (hypo-Ionian) or the Mixolydian key, which, for reasons to
be afterwards explained, was as little sufiicient to rise from the
Ionian tonic.
Therefore, in the reign of the ancient system, we find the modu-
lation into the dominant either entirely avoided, by means of ca-
dences in the principal key or the subdominant, or retarded upon
the parallel of the subdominant, if not an actual modulation into
that key {A jEolian). Thus Sebastian Bach, in three different
treatments of a choral with the following strophe :
464.
^=rH=^i=^^
forms its cadence, the first time with the subdominant and tonic,
^pi^iS^P
+-r
465.
u
s^
^^^^m
349
CHAPTER III.
f S«f-,'rrT'rT
a 1
f-
350
CHAPTER IV.
467.
351
*^mm^
^mm
352
CHAPTEE V,
THE ^OLIANKET.
Upon the dominant of the Dorian rises the jEolian key. Its
characteristic tones are c and^j the minor Third and minor Sixth.
The seventh, however, not being a characteristic tone, is often
changed into a major seventh, and thus makes it possible to have
the triad of the dominant major, and the cadence of the jEolian
key decisive.
This key, softer and gentler than its predecessors, does not
modulate into the minor or major key of its dominant, for this
would require the major triad or septime chord h, rf|, /|; or h,
d\, /j(, a. But the ancient system has no rfjj, and / being in the
^^^m^
i^^Si*^*i
ur rT'-rr I
ag^
$ f^^:
"Cj r^r
354
CHAPTER VI.
i*^^
:
ff.
470.
355
Ionian.
is^it^en. ^
H,r^.
Ht^ ^^^ ^ A/fe,.^
, .
^^
'^^^^m
Q^ic^^w^ I
472,
m ^PP
iUl
£ fm^
m r^.rf
II
1^-4
mw^
BE Uii
^f3g
m ?3^3F5J^ r
ii--
the first strophe points distinctly to the Dorian key ; but the
next strophe having a modulation to the Ionian (7, proves that
the former cannot be the reigning key. Only towards the end
we recognize the Phrygian distinctly.
356
CHAPTER VII.
One reason for this rather irregular proceeding is, that even in
the ancient system, this key has never been able to acquire an
independent and rich application, and that, since the reformation,
it has vanished entirely. Only in Bohemian collections do we
find Lydian melodies at all, and in others the Lydian appears
merely passingly in other keys, particularly in Dorian melodies.
Its characteristic is b, the superfluous fourth of the tonic.
This one tone only, distinguishes it from the Ionian and from all
spects this tone b, — thei only characteristic of the key, — ^was the
/, 9, a, K e, d, «, f,)
loss ;
for this b could only lead to a modulation into the domi-
nant —a modulation
at once characteristic of nothing and the most
commonplace. Every single key, except the Phrygian, had it,
and without demanding a sacrifice. These are the causes of the
357
Third Part.
The Secular National Song.*
* This word does not exactly express the meaning of the author, but as
the translator could not find a better one, and as the true meaning of it will
become apparent to the reader in the course of his studies, the translator has
thought it best to retain this word.
359
the feeling of the moment, of the conditions under which the song
became their property. Here must we look for the nearest and
truest reasons for the melody of the song, and the deviation from
general law.
Thus much of the interest which the national songs have for
us. They are so important and so instructive that no musician
should neglect to make himself familiar with them not to imi- ;
tate them, (that would be vain) nor to employ them in his own
works, (that would be little) but to enter more deeply into the
soul of art.
This occupation can be limited, as can every other work, to
the mere performing, or meditating upon the form and' the con-
tents of the song, or it can consist of an independent treatment,
i. e, invention of an accompaniment, or perhaps the representation
of a national song as an independent composition (without words,
for instance upon the Piano, or by a combination of other instni-
ments). For the national song, as such, is sung by the people,
sometimes unaccompanied and monophonic, sometimes the singers
from it by ear, and without regard to rule or principle,
construct,
a duophonic, or triphonie phrase ; often it is accompanied by a pe
culiarly national instrument.
If the musician, now, has to invent an accompaniment, he can
do so, either in the style of the people, in which case his accom-
paniment will be subordinate or he can accomplish a higher ob-
;
can increase the expression of the song, and thus elevate the work
itself, and the hearer, into a higher sphere. In the first case the
CHAPTER I.
1. CONSIDERATION OF VOICE-REGION.
2. CHAKACTBK OF KEYS.
CHAPTER II.
The work of the composer begins but now, with the se-
actual
lection of the harmony and the modulation. Though we shall be
guided by the same principles which assisted us in our former la^
bors, we shall, in two respects, go farther than in the choral.
Firstly, the national songs in general differ more from each
other than the chorals, for in the one we see a representation of
all the various conditions of humaiiity in all their variety ; the
various sensations are represented in the most peculiar, finest and
sharpest features, while in the choral, everything is subordinate
to the general form and character of devotion.
Secondly, in the choral, we have in addition to the uniformity
of rhythm a uniform distribution of harmony, —
^generally a chord
for each measural part or syllable,^and in order to avoid under
those circumstances monotony and weakness, wa have made our
harmonies energetic, and our voices as melodious as possible. But
this is altogether different in our secular songs. The variety of
their contents and their predominating mood has given us a variety
of rhythm, and has characterized each melody distinctly. We
can, therefore, no longer speak of a uniform or impartial distribu-
tion of chords. The harmony has no longer the obligation to in-
demnify us by variety and vigor for the monotony of the rhythm,
it intends only to support the melody of the song, and the accom-
panying voices become subordinate to the melody.
In the treatment of such melodies we must decide therefore,
above all, upon
473,
p^ii^
The whole formation
^^
tells
itat
474.
^m^^^^^ J-
^3S3
± f£p
But we see already that there can be more than one division
of spaces, and that the necessity of supporting the sectional points
of the melodyis not always alike pressing. Thus, in the above
melody, we might have embraced the first two tones of the first
and third measures, and the three tones of the fifth measure, in
363
one chord {ff, b, d, and d, /|, o, c); and vice versa, we might
have given the tones of the second and fourth measures to two or
three chords. The decision in such case depends upon the char-
acter of the song, or the object of our treatment ; but it will al-
ways be seen, that, the more changing of chords we permit, the
more weighty, and the more tones we comprehend under few
chords, the more light and animated will be the song.
But returning to our national song we see, that however clear
and simple the above treatment, it by no means corresponds to
the weight of such a song. The following would be far more
suitable
^m^ tT>
m^^^
I I
475.
m^- 5;££
O sano- tis - si - ma ! pi - is - si- ma DulI
^=p:
n -
m 221
a! Ma
--^t'.:^^
- ter a - ma - ta,
iifriz
In teme-
i^i =F =S^SEli
ra - ta, - ra, - ra pro no bis.
477.
^PS
4 -iJ- -J-
f^m-
-9- -•-
.
-©-
1
S=::
'A
P =?2=
m
364
diciously employed.
Until now we have only considered what number of voices is
in general more appropriate for this or the other song we have ;
478.
^^il^gH 35
i^i^^pi * •—
might be treated with full harmony in the longer tones, M-hile
:£3E
479.
OFEF^; i^-^
H 'J
^
I i 1 I I
I
m ==1-f^-
eE£ E5
-i^- £
But we will remember the advice given on former occasions,
(Book I., first part, chapter II.) and effect this change in the num
ber of voices only at the beginning of new rhythmical sections.
In the chorals such change would be possible, and occasionally
even effective, but as a general thing it is absolutely unnecessary,
as it depends above all, upon the typical character of the choral,
which, altogether independent from the number of voices, demands
the first and only consideration.
2nd, We
shall make use —
particularly on instruments incar
pable of forte and piano, or sustaining the tones, like the organ
or pianoforte, or for the accomplishment of particular effects — ol
^#
P^T
5E
g:
480.
a
In such cases the decision depends
f M
upon the rhythmical construo
tion or accents which the particular character of the words and
melody demands. Every other direction is superfluous.
366
481.
CHAPTER III.
HAEMONIC FIGURATION
482.
^iig^g^g^ii t- i
which give us already six different forms. Four tones give us
twenty-four forms, independent of the variations which might be
produced by change of rhythm. Even now we see that it is next
to impossible to exhaust the foi-ms of harmonic figuration, and
that we merely can give an insight into this element. First of
all let us glance at the designs.
1. Monophonic Designs.
483.:
Eg i^^it=
$^^^^^^m.
368
i=i aSsS-^^i
i tlSWWW $ r r
'^mm^^
I
485.
HH^P
ffi ^•E
i ^ li^i^t
$ m^ir^^Sjr^t^^^
m
^^m^ ^ r
369
=i=S=r= =i=iC=5=
=r=«="=?=n^
^^^m
486.
1B=P=
CHAPTER IV.
1. Retarded Resohition.
437.,
-a-
488.
The attentive reader will already have noticed that in No. 485,
and e, there have occurred octave-successions which
at A, c, D, in
^3-^53.
489.
m-
at A, octave-
^ "?~T
and quint-successions which appear at b uncovered.
n i
490.
imm 4M
PT T =^ I
I
the melodic form and the intermediate steps (here a sixth between
every two fifths) would mitigate the bad effects of such succes-
sions considerably.
3. Passing- Tones.
491.
B
-^r4
I
-P
=^z
f->-r^^?--r-P=.i i fipzpipi'^irprp^p; F|
N -d- \ -I \ i
BE =?2=
must follow the laws of melody. Of these laws there are two in
particular which demand mention.
1. — Consistency of Execution.
We have always endeavored to retain the designs and dii'ec-
tions once seized, and we have not passed on to others without good
reasoils — ^we will not depart from it now. If we have once seized
a design, we must let it work to the test of its powers. We
shall not depart from it without good reason, and we shall per-
haps occasionally return to it. An unnecessary, aimless changing
of design would only cause confusion and restlessness.
2. Firm Connection.
492..
i
1^^^ spgii
M^ i
the figure a be the most firmly, the figure c the least firmly
will
connected. The figure b stands between the two. It is more
expansive than a, and less vague than c. These two merits might
easily be combined by intermediate tones, as, for instance
-^^m ^. :j=
374
m
Thus
1
1
1
CHAPTER V.
I I
.
^:^L^--j--—-g- j_j '_J I
^=n-r^fff
LU
^»iWipW _ I
495.
i ^ l^i^ "—•-
M:
F-=F^ ^
r
376
„. j^te^iA
rTII — *
I
t if^
it vanishes altogether.
An extension of our chords would give us an enlarged arena for
our designs and the carrying out of them. Here
^^^^^^^
497.A ^-^
3EEEJ£
M mP ^t=m
g:J:
Oon fuoco.
i^^ tS"
- -]
r ^
sf-
^^^
s^
we have given a half-measure to each chord. Hen'e
. Teneramente.
498.
BES^z
fi 1- X iz
^-
we have no longer repeated the design slavishly exact, but intro-
duced at the same time an accidental suspension.
377
499.
500.
Lfe^^ -*-h#- -t.
If in
^^^^fep|^
the above we have figurated the bass, we can now attempt
with a middle voice.
^
it
i i
501.
m^^^m^
ggj; *=?=
1 t
i
378
502. 1
mm
1
Sh =l=f£
' -J:
CHAPTER VI.
^=
503.
m i
LLiLLT
^i=± J.
i^
frTT^T^=t¥
gS" '-^&w-T^:m ^
at c and d we have enriched the designs of a and b by means of
diatonic and chromatic passing-tones, and have made them more
connected.
But it cannot always suit us to introduce the whole series of
diatonic or chromatic intermediate tones, to fill out every third
or fifth
504.
$ ^
a
tifi
If
505. iip=ppi&=H=^^E
*-
Instead of the three intermediate tones of a third we need take
but two, and the only question arising then would be, which are
best omitted'? The object of the passing-tone is to lead us into
the subsequent one, it must therefore lean towards the subsequent
tone, join it closely, as it were. This is the case at a in the
above. The passing-tones at b are less satisfactory, because they
keep distant, as it were, from their actual goal. The passing-
tones at c are in direct contradiction to the supposed key, and
sound strange.
With the same right we can retain but one of the passing-tones,
and in that case we shall select the one nearest to the subsequent
tone.
B , .
The one
506.
not lead to
P
at
e,
a or b
but to
ft
is
¥
better than the one at c
same in descending. Of the
d. It is the
; for the c| does
J I
t-
-t:-
m^-d=i=R=H=J=iii=:R=fi:^i^
"^$ I
m i±:^B^^SEe^pEpf3^
But we must here add a few remarks. The pass is a flowing
movement, having in its completeness a softening influence upon
the melody, which, without it, must necessarily progress in wide
steps.
S81
509. ^
stt:
the remaining tone, which; leads smoothly into the next one,
whileit has no connection with the preceding one.
Such isolated tones of a pass are called
510.
511.
512.
i
'm
^ ^^ ^ ii
p<«i -m-M
^
%^
to its contents, and without fearing, even, the effect of false-rela-
tions (Jb against h\ in the above) provided always that the help-
tone leads to a chord^tone,
After this we need not hesitate to introduce descending help-
tones in ascending passages, and vice versa, ascending help-tones
in descending passages,
513.
i -&- i
382
li3Bi
a^es^
514.
i i^ffi a fiiL
One step farther. It arises from the above that in the repeti-
tion of a harmonic tone we can give it a help-tone from above
as well as below (a),
-^^^^fc
and consequently we can also introduce the two in immediate
succession (b). Each of the passing-tones finds its resolution in
time, and unite the help-tones and let their resolution follow af-
terward.
'''$ Seie^
r^
£ as well as d are here resolved in c ;
f
only that the resolution
of the first tone is somewhat retarded. The attentive student
will here perceive at once that all our musical ornaments, such as
TBILLS,
TUlftlS,
reason. Here
383
517.
M ^m^^
ijtihjt 1=^ ^ig^^F
at A,we see a e| against a cfc|, at b /| against /H. This is done to
secure a flowing progression of the different voices. For the
same reason we have here
518.
^^m •hf-
519.
520.
—
5—-i
F^g
I T ^-•-«
^-»-
i
^
for instance,
— — s-«-^
-f
^
I-
^
not hesitate to lead the help-tones first i ito other harmonic tones,
before the tone of the actual resolution appears.
521
P1^^ ^^M
384
522. m iffl.
The design is clear enough in the first and last quarters ; but
in the second and third the impression that the two help-tones,
/I and S relate to g and d, is almost entirely effaced.
523
CHAPTER YII.
^i
524,
m -§- ^-
We begin our task with the
4-
&-
SP'^
feE3i
Ei^i
'^'
^^
^t
sii
^"f
'-J.
t^Sf^fati^iff
'
' ' !
525. E^E^J
p W
-^
-&2
I
526.
pgg^EJ^gi^
Let us turn now to the harmonic figuration ; let us introduce
into the upper voice tones from the fundamental harmony. The
nearest would probably be this
527.
P"^
^E?:
ES. ig^^^
i z^t^ ^IS^iS
containing harmonic bye-tones and diatonic passes. And now we
will proceed to the chromatic passes. Here
529.
$^^^^
530.
pj ^^
or of greater compass
i^^gi^
m^^^m^m
:
m
387
or in extended figuration
Ten.
Dolce.
*T&, e. fie-
?-• _^.
t' t
i^^ E Ten.
531
tJ:=.ti
mm
^^
-^^^
or in a similar manner, but even more animated and marked :
532.
WF ig= '-^
^ g— -^
d-
33.
ii I
b34.ffi =P I
f f -r ffj CTT :7T'
tion (a), or with it (b), upon the second part of the mea&flre, oi
upon the first (c), would do away, to a great degree, with this
4- J-
m=a
-sj- 5
535.
if -M:.
*
In order to show how rich a development a simple design like
w
536.
^S
leaving it
m^Ms'mM
to the student to follow up this exercise.
^^ J ^ X
537. i5i
1
and by means of the
^^^^^
J- J
539. Bi:
^^^^!^^
much nearer to No. 537 b, would have been a development like
the following.
640.
:^f?=Ji
541.
i *jiji~(*~
!flic
A:^ LU
e? It
Mai^-f-
^m
the latter would lead from formations like a to such as b and
many others.
^^Efed
136.^ J
-&-
T-
ff^f r ^
^
-s-
J.
^^^^^
rr^ ^
descends alternately a fourth, and the third voice, in like manner
a third. The other voices proceed diatonically. Let us now fill
W^:^
::^
—(^ fei- ^ i^^
543.
"M^'r-i'T
^ a 3 P~ iS
pended all three of the upper voices. Let us now attempt the
introduction of passes in the upper voice ; as a matter of course
they can only be chromatic.
391
$
-Ml =d= ^t^
644.
at
zJzz:!^
J^
^^^
ii ^ rS
W=^^ .
^e=r^T
Bi tt^f^ ;^^^
As a last illustration of the rich and varied developments which
the industrious student can derive from the simplest designs, we
give the following
W
545.
et:
-±^-^ r a«sj r
^lrr=fs^^i
The first four notes of the treble can be considered as the prin-
cipal design, which will be found in a more or less similar form,
tration, the pupil must not fail to begin with the most simple
designs.
392
CHAPTER Vm.
APPLICATION OF THESE NEW MEANS TO ARTISTIC
ACCOMPANIMENTS.
application, and it only depends now upon our selecting the right
means for every particular task, to judge which form of accom-
paniment or representation is most in keeping with the character
of each song.
The great similarity of many of our present forms, and the dif-
were.
6. The more firmly the melodic connection of an accompany-
ing voice has been developed by means of passing-tones, the
more independent a melody will this voice become, and the
more attention will it detract from the principal melody.
f-»
T=li^ a^i :P!=F §1
546. Accompanitnent.
\,_4._ S-j_
17*
394
irregular steps in the upper voice, &c. &c. But these considera-
tions will be treated more fully in the chapter on the accompani-
ment of vocal music. Here we shall confine ourselves principally
S:
^^47.
548.
W^^ S3 •-•-*-*»-H-
549.
^
n 1
S3Ee!^
*^i ^^
^:
If this form of accompaniment should be deemed too simple,
Fiu animato.
-sar-t 1 i_J 1
f— P 1
• . -£«.
t=^-M
550.
Ores
Oi d^.
:?—
L
i?=it
-T^ R-,
m^^
Nl_
9J^ I -^=^-
^e^3^5E
r^^s^^a?
biy •r
I
-g- ^ -a-
Sg3s|-
396
.KS-
second verse, and we might give the third one a more anxious,
excited character, though still resembling our first conception (No.
448 ;)
perliaps ihus :
.^
552. p _L „ P
397
-«- -«-
^^=
&
553. Marc. c. espr.
et^"
IS:
j^J44^
f
Fed.- piano. *
J^ J ^ '~^"5"I<2>"5"
—-«-/-N-«-:^ N-«-
Maro. espr. I
^ II rt:^^F^>- r 1 -'*-'
-*--:8-:r
I
1
I
L'-^L -pfp p
_dl?l
^
R--^-
iF:=g:
Fed.
554.
^^^^^g^^pgi^
*===*
w^^t "^^^f^^
=^5Z^
^ZlSl -^^m^&-
^n^ii^^
->--N-
*-:E=K£Et^^S
--»-#-f -+-—*-
iM^g
398
is less simple than the former, but admits of many harmonic con-
ceptions. We see in it two particularly conspicuous points : the
pause in the third measure from the end, and the imperfect
cadence of the second part, two measures previous ; for the rest
|^^!S^
555.
aipi
P -4^=
^^
f=^
5tEJEE&^
f=r
a
556.
e^-t
m m f^-1 P^N*
ei
S=: -|
h
-
I
399
"
^'iff^'iVr ^m^jj ^-rjJ^^Tf
557.
E=3^^§^^ggagm
T^T
*^ 1f»-iS»-l7'i
T^ZlTf
iS-^iS^
and with the following measure we would return the first time to
the beginning (as at a or p,) and the second time we would pass
over to the second part, as at c.
558.
1IE=3
-F-
r
m
' ~^~rr
^m -•- r
d---^J:
:fe=F
m^ ^^tlu:
h=f -
4Q0
659.
ess
^^ 3^
it±i=E=3:
r m
We leave the student to practise these and other analyzations
and exercises.
401
APPENDIX.
to treat of it.
The prelude is intended to prepare us for the key of the subse-
quent composition, either by indicating it, or by actually sounding
the essential harmonies, and in addition to these, perhaps other
near related harmonies. Thus much we have leamecTalready at
560.
402
or these,
4
3 4
m^
bt 3 6 7
_(2_ -&-
561 t -z^e^:^
b bs b
p yes -h^
BE £ ^ n p
-e-
562.
P =F=
W=i^ ^=^
^
ai
^P If
d
i W^WS'
s
i rx^—^^
T=^^^^
or any other form.
But such formations are less appropriate for preludes, because
the presumptuous development is not in keeping with the sim-
plicity of the task and the hannonio foundation.
403
m^^=^^^
563.
8va.
ffi
i p=f=r=rT^^^i^
u
565.
SfciiEg
^m ^
may serve as an illustration of such foundation. A. simple har-
monic figuration
405
566.
^pi^^^ls^^l
m ^^=f=g=ta^^^ ^
S
^^E^
ei
f
^%%i
gives it already mobility and variety, and it requires merely a
steady progression, to obtain from it series and series of new
formations, particularly after we have introduced passes, help-
tones, change of design, and rhythmical form.
We have made but sparing use of these means ; a single
help-tone has been introduced in b ; and in c we have employed
two designs (triplets and eighth-notes.) In continuing this, how-
ever, as we have seen in a,) our designs would have to be modi-
fied or divided, because the foundation assumes a more rapid
progression after the third measure. In c, too, this would be
necessary : we might omit the second design, and form the first
thus
406
567.
3e#
Thus much of
W^
this
p^
by no means
^m
diflficult exercise.
ff
Guided by
it, the student may venture beyond the limits of the phrase, and
exercise his invention in free harmonic formations, either on
paper, or improvising on the pianoforte.
APPENDIX AND NOTES
TO
MAEX'S THEORY
MUSICAL COMPOSITION.
BY E. GIRAC,
OF THE OONSEETATOET OP PARIS
NEW yOEK:
PUBLISHED BY MASON BROTHERS.
23 PARK ROW.
Entered, according to Act of Congress, in the year 1854, by
MASON BROTHERS,
In tbe Clerk's Office of the District Court for the Southern District
of New York.
INTEODUCTION.
My object in writing the following Appendixes has been to con-
dense and abridge matters which, in the author, are too prolix, and
mingled with secondary considerations of the subject, which often-
times obscure the practical rules. In instruction books, precepts
ought to be unfolded with as much brevity as possible ; definitions
be clear and comprehensive ; the developments strictly cionfined to
points immediately connected with the rules or definitions. It is
former will, after all, derive but little benefit from those evidences
of learning, from that fecundity of thought and richness of expres-
sion paraded by the writer. The man laying down a code
practical
of precepts must say you have to practise, that
to the pupil, ' this
you have to avoid.' He must still do better, he must show the pupil
how to observe this, and how to avoid that, by numerous examples
subjoined to every precept. So used to do Cherubini, perhaps the
greatest theorist who ever existed : so did Reicha, the most practical
man who was ever seated on the professor's pulpit. So did the
early German theorists, such as Fuchs, Marpurg, Albrechtberger,
and the Italian padre, Martini, and many others, of whom it would
be too long to give here the names. Nothing is more apt to give an
idea of the soundness of judgment of Beethoven, than the concise-
ness with which he has developed the rules of Counterpoint and
Fugue in his musical studies. The paucity of precepts contrasts
wonderfully with the number of examples. In this, we think he
was influenced by his master, Albrechtberger.
These few lines serve to show in what spirit the Appendixes have
been written. I have given compressed and short rules, but sup-
IV
himself.
Though these Appendixes have been composed to be explanatory
commentaries to the large treatise of Marx, yet they form a vi^hole
in themselves, and from the treatment of the triad down to the pass-
ing-notes, where they break off, they form a compendium of the
matters contained in them, in which nothing necessary to the instruc-
tion of the pupil has been omitted. They have another advantage
they offer the teacher of harmony a text-book in which the funda-
mental laws of harmony have been laid down, so that he will have
no other task to perform than to direct and superintend the work of
his pupil, being thus relieved from giving, himself) but very few
directions.
pupils enjoying oral teaching, they will use both the text and my
Appendixes, as directed by their teacher.
A few words now on the exercises, especially for the benefit of
After reading the rules and explanations, the pupil should copy
the base of the exercises coming after every rule or explanation,
without looking at the upper parts. Particular care must be given to
the figuring of the base. This being done, he will fill up the har-
mony according to the figures written carefully under the base.
Before commencing to fill up the harmony, he ought to read over
and over again the rules on the three musical motions, and watch
his work with utmost care, in order to avoid fifths and octaves either
hidden or real. After it, he will compare his work with the upper
parts written above the base in the Appendixes. If he discover
faulty successions, or mistakes in contradiction to the figuring, he
should recommence his task, until, by comparing it with the exercises,
he finds no fault with his own arrangement. When studying the
triads, which I consider the most difficult labor of the pupil, particu-
lar attention ought to be paid to the connection of chords ; most of
the faulty successions arise from breaking this connection. When
the student has succeeded in writing his work correctly, (and to
succeed in this, it is not necessary to arrange the parts just as they
are in the Appendixes,) then he must create a base for himself, and
fill up the harmony. In the discords, particular care is to be given
to the preparation, when required ; next, to the resolution.
I give this figuring as the one used in a great school, and applied
to these Appendixes ; though, I confess, there is much that is arbi-
any other method of figur-
trary in this, and I do not disapprove of
ing which may convey an exact notion of the harmony. But the
pupil who studies alone, being necessitated to submit to. that of the
exercises, it was incumbent upon me to make him acquainted with
it. I have now given all the directions necessary, that the student
may derive from these Appendixes all the advantages contemplated
when they were written, and, I have no doubt, these advantages are
certain, if the student be a careful observer of all the given
directions.
EM. GIRAC.
New-York, My, 1854.
APPENDIX A.
sion of a sixth, fifth, and yburt/t above, is called the Regular Progres-
sion.
The Progression of a second below and a second above, and the
corresponding seventh, is called Irregular Progression.
The descending progression by a third, gives two mutual tones.
i^
The Progression by a Jifth gives one mutual tone.
i
The same number of common tones is found in the inversion of
these progressions ; that is, in the progressions of the fundamental
sixth, ffth, and fourth above ; and they are equally good.
As to the motion a third above, it cannot be used but under
certain conditions, and no more than one progression of this kind is
i &c.
i
Hence, it would appear that this progression by a third above, is
more satisfactory when leading from a major to a minor triad, which
at its turn, is made the dominant of a transient minor key by the
elevation of its third.
which a chord lias in common with the following chord, must be pro.
longed into it, as,
^~
-^ i
In our following exercises we will designate the mutual tones of
the chords by this sign -—^ or ^—^ placed over or below them.
Previous to our explanations of the irregular progression, we feel
^^=^b^^^ r-r-r-f-
The Oblique motion takes place when one or more parts or voices
keep on the same tone, whilst one or more ascend or descend.
X
i
The Contrary motion takes place when one or more parts or
1st. Two fifths and two octaves, prohibited in the direct motion,
are allowed in the contrary one.
2d. No more than three parts can move in direct motion ; and
when they thus move, they are liable to give fifths or octaves.
3d. Four parts moving simultaneously in parallel motion, fall
i
It suffices to look at these chords to perceive that no common tone
exists between them, and therefore no connection. On the other
hand, if we consider the tones of the chord f, a, c, we discover that
each of them goes up to meet the nearest tone of the chord g, h, d,
that is, three parts move up in direct motion. Let us see if, accord-
ing to the second rule of the motions, there be not here some of the
errors mentioned in it. In effect, the treble part progresses from c
to d, while the base part moves from / to g, and thus gives us two
fifths in parallel motion. It is not in our power to avoid these
fifths, since the tones are essential to both chords ; but we can avoid
having them progress in parallel motion, by giving the chord-tones
of the chord/, a, c, another construction, as in the following
i
All now is right. We have obtained the Jifth o{ g, b, d, by
causing the third of the chord / a, c, to descend to d, whilst the
fundamental tone, /, goes up to g. But as we have adopted the
four part writing in our exercises, we shall construct again our
chords in this way :
^
=A=
which is
i
equally satisfactory.
It is worth the while to advise the pupil that, to avoid faulty suc-
cessions, in many instances, it does? not suffice to take the contrary
motion; much however depends upon the position of the chord-
tones. Here, for example, if instead of placing the third of _/", a,
i =i=
an improper use of the contrary motion, has not only destroyed the
connection of the chords, but has led us into the very fault of cover-
ed fifths and octaves, which we intended to avoid. As both chords
have the tone c in common, the proper arrangement of the voices
/, a, c, thus
i
The connection being thus observed, all the other tones, C; e, g,
move easily to the nearest intervals of the following chord, This
observation is of the greatest moment in filling up the harmony,
No. 1.
^
is
32:
#:
I
Ty
No. 2.
^
ite:
5 55&6&55 5^5
r
we meet with a kind of and octaves,
-si-
which call the attention of the student. They are called hidden.
A hidden fifth or octave is that which takes place between two parts,
one of which proceeds upwards or downwards, one or more degrees,
while the other skips to the same intervals. By filling up the skips,
the hidden interval appears real to the eye, as.
^^^
f=r^
-^-j- j-^--
No. 3. T=T
jhJTl
rf -J,-
T
p
ii§f
5 5 5 5 5 5 5 5-5
Minor Scale.
F^Tf ffT 1^ -^
55"? jipgs
555^5
-§Z':3ZL
Ef
h h
5 5
10
i &c.
Here the first tone goes down five steps to the second, and the
latter goes up a fourth to the third, and so on to the end. These
sequences depend entirely on the will or fancy of the composer.
They may occur in any strain of a piece of music or exercise ; the
beginning,- middle, end, are equally suited for them. The one most
commonly found is the above mentioned, which some theorists have
styled Seventh-progression, as being thatof the chords of the seventh.
No. 5.
i^JJu J
I ^ ^
'
I
^
gfe
*
r
rc»
,-~T"^
» ^ d=t
^
^s ^ ^=i
11
=c
j-d_j-.i
--9--»
&Eidg ^!t"i£:rf:
i
"
g/
<9- * -^ —^
T^-
f F ff
^
=^=^
One example more, and we shall have done with the progressions.
^
^m^^f^r^ isssi
§1 P
m±
i fTTr ^rr^F
w p
i:
iscziS::
^^p
12
i i^#f^p^ ^^==F
* P
<g— fg gj = -"g
I=-
Eitas!
i =Pt »i
f f
^:^
** r
m
In the minor scale the sequences are treated in the same manner
as in the major ; with this one but material difference, the leading
note is disregarded and restored to the major mode. But it must be
reinstated at the first opportunity, as can be seen in No. 6 above, at
A, where the ^ reappears after having been depressed at the sixth
measure. So, at B, the dominant triad is introduced again, after
having been made the fifth of the chord e, g, h, at the star; and the
fundamental of the chord g, I, d, at the two stars. We come now
to the
The first inversion takes place, when the third of the primitive
chord is in the base ; it consists of a third and sixth ; it is called
chord of the sixth, and figured e.
2. First Inversion.
i ^^
though the fi,fths follow the contrary motion, is neither clear nor
satisfactory to the ear ; but the same progression becomes unexcep-
tionable, when the chords are put in the first inversion, as
i ^^^
This progression might have been longer and equally good, as in
this example :
—§--
i
The contrary motion is even unnecessary, since there is not any
faulty interval. But if we desired to have more than three parts,
we must use either the contrary motion, or double one of the upper
parts, thus :
—is-
or
i
When used in three-part-writing, the succession of sixths is sub-
ject to another condition.
— ^The third being in the base, the fun-
or
14
» ^
I ^^ 1 not in this manner.
%
All these cautions are required when the sixth is used in
passages of a certain length ; when standing alone, it does not
require so much care, and the position of the primitive fiflih is
i 1
in which the fifth, which undergoes no other change than that of
a .higher position, is as good as this
i
in which the said interval is changed into a fourth, The chord
of the sixth needs no further remarks.
3. Second Inversion.
i ^^
we are forbidden to use the same chords in their second inver-
sion. Thus
i
or by the third inversion of the dominant seventh.
the base resolve the fourth, it ascends or descends a step, and the
fourth continues on the same tone, as
i
If the resolution be effected in the the upper parts, the base, fol-
16
lowing a contrary course, keeps on the same tone, and the fourth
*
resolves by ascending or descending a step
i 1
The resolution then, as well as the preparation, can be made
either by the upper parts, or by the base.
Preparation necessary only for the perfect fourth ; the sharp
is
i ^ i 1
In the cadences and half-cadences the perfect fourth requires no
preparation, as will be seen and exemplified in our further expla-
nations. '
i rf¥
because in its progression the base meets always with, and stops on
the same harmony. But if, after the fourth, the base entered upon
a new chord, the preceding example should close thus :
IS/S-
i f^L^fie
or differently, according to the ending harmony, and conformably to
the preceding rules of resolution.
17
^ a s-
iiS=
i F^fT^ *
»=3— 1 ^
No. 8. 2. First Inversion.
^ ^S
ife
;^ T= T~"r
^^
r
18
J_J=F, a i o
(^ ! I
:?2iz:rp
ilr^ ^^
J fe id. ^ I
i "-T=f^^Tf
^ gr: -fg fi. H° .»- -
jg - &l ^-
-i-J- d I
J i
1 *^
^ o P-
^f= ©e
i!^
^=t
J
m^ 6 5 6
^ i^^m
!
i f
-f^:^ iS~~r7s :
^^ r^ i
No. 11.
1^
-i.i
E^
-rr- t-^
^§^ ^^
19
I
-A
^
4 4
r
^^a
?
f-
^
We have written the above exercises on the same harmony
1st, unin verted chords ; 2dly, first inversion ; 3dly, second inversion;
4thly, by using both inversions promiscuously.
We did so, to make the student understand the different features
with which the same harmony can be endowed, and induce him to
compare the difference of construction of the upper parts made ne-
cessary by each position of the chords. He may derive many
advantages from this comparison. After so comparing these
different constructions, we would induce him to write over again
several times these exercises as they are, and then transpose them
into different keys, both with sharps and flats. When all this is
Strictly speaking, the seventh and second form but one interval,
since the one is the inversion of the other; but, in practice, they are
looked upon as different intervals, and so we ourselves will consider
them. The ninth differs from them in this : it cannot be inverted.
These dissonances do not form a chord alone, but need the adjunc-
tion of two intermediate tones to the seventh, and of three to the
ninth, as will be perceived from the explanations which will be given
of the dominant chord and its near-related nona-chord.
The consonant chord or consonance, is in itself satisfactory to the
ear, and therefore can be used without preparation. The disso-
nance, on the contrary, is not satisfactory to the ear; and for that
reason it can be used only under certain conditions, viz : the Pre-
paration and Resolution.
The improper dissonances, with the exception of the perfect
fourth, do not require preparation, but only resolution.
The dominant seventh does not require preparation in the free
style of music ; yet, as there are many instances in which it ought
to be prepa^red, it is incumbent on us to say what preparation is
81
moreover, besides the dominant seventh, there are several other sev-
enths, the preparation forvifhich is a law that admits of no exception..
Preparation is the introduction of a tone into a preceding chord,
which belongs to the succeeding one. ,
This preparatory tone can be either equal in length to the discord
^fesEE^^^I
i I
,p i^
7 I
p r
They of the chord djf, a, is the preparatory tone ofg, i, d,f, in-
to which it is prolonged. At A, the preparatory tone is equal to
the seventh ; at B, it is longer ; at C shorter, and this causes the
preparation to be objectionable?
with this (x) sign below, to distinguish it from the figuring of the
other sevenths, which is 7 simply.
22
^^
f
In this inversion the fifth is diminished. This fifth occurs only
in the dominant seventh, being alvi^ays perfect in the other sevenths.
i ^=
Some theorists advise to prepare the fourth in this inversion, and
when It cannot be prepared to suppress it. Nevertheless, in practice
it occurs very often without preparation. In our exercises, we shall
^^m
This augmented fourth is again the characteristic of the third
inversion of the dominant seventh ; in the third inversion of all the
other sevenths this fourth is perfect. We must likewise avoid dou-
23
bling the base in any of the upper parts ; for, as the second has to
descend one step in its resolution, if doubled, it would have to do
thesame in the upper parts, and then a faulty succession of octaves
would be unavoidable.
The names of these inversions are not influenced by any change
of position in the upper parts. Both of the first two chords of the
following are called chords of the sixth, and the others are called
chords of the third and fourth.
^m, =1 a
J-
m M
-^
pi
This addition to our chords, though of great advantage, gives us
no new difiiculty, for all inverted chords follow the same rules,
its seventh descends a half step only, and that its fifth descends or
ascends one step, the same rules still hold good in the different in-
versions.
A natural consequence of the regular resolution of the dominant
chord is that the chord of the tonic remains incomplete ; it lacks the
fifth. Theorists have provided for it. When the chord is not in-
verted, they advise us to double the fundamental ; so that, while the
base goes its usual way (a fifth down or a fourth up), the other, in
forms the fifth. But then there are five parts in the harmony ; if
i
In such an event, we must give the fundamental tone in the base
a motion contrary to that of the fifth. If the fifth cannot be used reg-
24
^ —[=?=§
1^
I
4-e
No. 12.
^ r r ~
ife
i ffl^a 2?I
r f=f= ^ ^
E^
^E
No. 13.
A
^
~rf
5 - 5- 5 -
^
At N, the fifth moves down to complete the tonic, at P, it
moves upward ; in both cases the fundamental traie, in the base,
takes the contrary motion.
25
J J I J ^ 1
i^ l_^^
.# T*! -iSrI-
r- f f-f
i^ I
^
SEE
i -gg-
^ :4=
-S^_ffl.
1
No. 15.
m f f
i:^
"T2 T
^- i
i f^^ ^E
=t
"
-f-
t
j==^j-^—.i
i f ^^ sP--=^ ^
=t=^
z^^
26
1 1 I
w I I I
fp—"-«
Eg
No. 17.
S^ f^m^ r-^
^=-U=i
^E # e^ fc
« 5-
-5-
^ #• i"
f»
mark that at A the 6th tone of the minor scale is made the funda-
mentai of the chord/, a, c, rather than the first inversion oi d,f, a;
the former is better, preparing a half-cadence, and is possessed of
something more characteristic than the latter. At B, there is a
sudden transition from the chord of e, g^, i, into c, e, gs^; this
change, from the dominant triad of the minor mode into the major
tonic, produces a good effect.
APPENDIX C.
-d—^-
Ii
\=r^
&0.
^^^ t E£ ^ ^
Now, the consecutive fifths between the base and the alto part, and
the consecutive octavfe between the base and treble, are tangible. Is
this faulty progression avoided by the motion of the base from the
fundamental to the first inversion ? By no means. The funda-
mental tone being struck forcibly in the accented part of the
measure, remains unshaken in our ear for the whole measure and ;
ence is, that the errors above mentioned now exist in the upper
parts, where the consecutives take placia between the tenor and
alto, for the fifths, and between the same part and the treble, for
the octaves.
Again, No. 177 is objectionable. We have established as a
rule, in the musical motions (see appendix, page 6), that three
parts moving in parallel direction, are liable to fall into consec-
utives. From the beginning of the second measure to the fourth, we
see in this number a succession of hidden fifths. We will attempt
to correct it ; but to succeed in this. We are obliged to give up the
three-part writing of our author, and to adopt the four-part writing,
in order to have a full harmony.
I
_i_d_
^E3^ hh^ -II- -^- m
m-
^pe °
a 5
+
4-^
i s |E3^ 3fctg^ 3
W'^^^
^itry-firW^m 5 6 5 6
1
The pupil should bear in mind, and never forget, that in three
and four-part writing, the hidden fifths and octaves are strictly and
29
ciency.
The diminished triad is placed on the seventh degree of the
major scale, and is considered as originating in the dominant chord,
and by Marx himself as an imperfect dominant chord, that is, the
dominant chord without its fundamental tone. Such a view of this
chord is altogether correct. As originating in the dominant chord,
it gives the same result, i. e., resolves to the tonic. On the minor
scale it is placed on the second degree. From this difference of
position arises a different use of it. In the major scale it resolves
into the tonic, because it stands on the leading tone of the mode, and
for this reason, calls the tonic after it. But in the minor scale it
i
and is figured -5-.
31
0T~0
i ^^Pitg
-?rrHg m
At A, the fifth
f in the tenor part ascends a step to g^, instead
of moving downward to e. We adopt such an arrangement, because
it permits the fundamental in the alto part to lie over to the triad
of the dominant, which is always to be done, whenever it can be.
The first inversion is composed of a minor third and major sixth.
^
It is figured thus : +«.
B. BAD.
i ^ znsz
sT-o
^
elr-
^ «=:
32
C. BAB.
a.
*-
0T~0
^
S\' a
33
iS*=«= 1^
i^ -^j.^
Ete
f=^
First IifvKKSioN.
4 <
=t==i=
i 1^
r f
^ J
i^ *^ p'rrgg
Second Invbesion.
4-
i 5
^ J
*=
J .4
f=
Of the two foregoing' resolutions, we prefer the first (A), for this
reason : that the fifth meets with its immediate resolution, and in
the same part which sounds it. We have always given the dimin-
ished fifth (Ex. B.) a downward motion-, to the third of the tonic,
t i =^S^
35
i t
This is, perhaps, the only instance in vi^hich the diminished triad
can be properly followed by the minor tonic chord. At least, we
can say that the other combinations (the half cadences excepted)
are very rare.
Finally, there is another employment of the diminished triad
very obvious in musical composition. We mean the passages, or
sequences. In such instances, the diminished triad can be followed
by any triad whatever of the scale.
Examples.
*^t:
T TT
^=t
— * -^ ^t $.
f
\i±-
m :^=tt
3E
i -s==^
T
fE^ 1
Here each tone of the diminished triad is carried forcibly down,
by the current of the harmony, and follows the motion of the parts,
such as given by the model. These instances are enough to give a
proper notion of the subject.^
APPENDIX E.
THE KONAOHORD.
The Nonachord, whether major or minor, arises from the domi-
nant seventh. It is the dominant chord, with one superadded third,
which forms the ninth. These two chords, having the same funda-
mental, have, of course, the same resolution ; but although agree-
ing in this point, there is between them one characteristic differ-
ence. In the dominant chord, each tone can, at its turn, become
the lowest tone in the inversions ; but in the nonachord, the tone
which forms the ninth can never be placed in the base. In other
words, tlie ninth is not susceptible cf being inverted. This is a fun-
damental law of harmony, which admits of no exception. Now,
since the ninth cannot b? inverted, it follows that the nonachord
has only three inversions, the very same as the dominant seventh,
but somewhat modified in their figuring, on account of the added
ninth. In the construction of the inversions, the fundamental and
ninth must always be made to keep from each other, a distance of
nine degrees.
A. Major Nonachord.
^
The second inversion is composed of a minor third, perfect
fourth, perfect fifth, and major third, figured I — effect, y.
We shall now give this chord and its inversions, together with
their respective resolutions. The ninth, like the seventh in the
dominant chord, needs not to be prepared. The ninth, in its reso-
lution, descends a step.
No. 18.
^^
^m
I
^%fe
—e— -» i
I* J.
§IE
said of the dominant seventh. We have only to state that the fifth
in the nonachord, whether in theinversions or n6t, must always be
38
led up a step, in order to avoid the consecutive fifth with the ninth,
which always descends a step, thus :
m and not
In this chord, both the seventh and ninth can be resolved at the
m
same time as above, in No. 18, or one after the other. In the
latter case, the ninth first ; next, the seventh, whether the chord be
inverted or not. Example :
No. 19.
'J-.
.1 L
^:::>s. J-,
P Z^r t ^^P=t
3«= 1
In four-part writing, the nonachord drops one of its chord-tones,
usually the fifth, thus :
A
m 4 s
i
r r T
i
But there is another form, more generally adopted, to disencumber
this chord of its overburdening tones. It consists in the suppression
of the fundamental, as.
i
-I-
:^
i t
-^z
sr ^
We have purposely omitted to give here the third inversion, as it
affords no satisfactory 'result, on account of the consecutive fourth,
as,
i -ipg-
i -gyg-
The minor nonachord, like the major, has its fundamental tone
on the dominant of the minor scale. Like it. it resolves to the tonic.
It consists of the same intervals, with the only exception, that the
ninth is minor.
No. 20.
^=g Tsc^:
^ #-
I ^
FS 'g '
Tia Og -g -'
ife
I '^-
The remarks that have been made on the major nonachord apply
to the minor. As it would be superfluous to repeat thent, we refer
the pupil to the foregoing paragraph, A, down to the suppression of
the fundamental tone of the major nonachord. Here lie some
characteristic diiferences, which we shall note down in the follow-
ing paragraph.
^ 7+ T
Second, we lead it back to the first inversion.
i ±^.
re 6
^^^ 5
No. 21.
B.
i i?sz S^
Efe=
H- H-
c. D.
i m m E«=
^
It ^r
The seventh (former ninth) goes down a half step to the fifth of
the tonic.The fifth (former seventh) descends also a step to the
third of the resolution chord. The third, when in the base (A),
should ascend ; otherwise, it might fall into consecutive fifths, as
m -^ 1
With such an arrangement, consecutive fourths are the result,
which are not objectionable in the upper parts. As to the third
inversion, the first way of resolution (C) is by far the best, the base
there allowing the upper tones of the chord to obtain, without any
interchange motion, their respective resolution. It is not so in the
two other instances, which, although admitted by strict theorists,
are by no means unobjectionable.
43
^i^m s^
i-ijLJ-<f
Isy=fffT"f?"rtf s
§4 t=^
5 7 5
-B-
i =fe^
^ 1
j! ei
f I
;= = =;
i^^^^ ^=^^fr=r
No. 23.
'^ ^b o .
=?-f-
=i=^
rJ-4-r-J-
.S£ ^
7 6
-5- -5-
— ^-j-
iT ^-
^=^
;i P^E^^E^
i i ^=1- -^
,i±
^ t?j=t
5 5 9
5
44
No. 24.
d^ J JTT
'^ =i=ra=
F f
^^
^E
7 5
-5-
ESE « « 1
S 75
r ^f F
£ 6 5 7+5
^i#tJj^^##4^
rr r TTY
i^ ^E^
|~^
3
?
i|j 8 6 - 5 -5-
^=:^
-*—
I
+a 7+ 5
i t^=4
(^^$^^E-f^^^^^^ rr> ^^^m
=t=^=
ir "ii" ¥ 5 is ii 6
il
45
No. 26.
'
I
* fee ?S
-0—^-
^
I
^^^j^^
T^r-fTT"
^^^
TT ^^-
APPENDIX F.
lowing seventh
d,f, a, c,
e, g, h, d,
a, c, e, g.
They differ from the dominant seventh in this: that they are
P»
No. 27. Exercise.
^^
ate ^1
m
48
This seventh can also resolve directly into the dominant seventh,
thus
No. 28.
^ zS^
m
ite :e^
i 3E
i
Its third can he elevated hy an accidental ; then it becomes a
transitory dominant seventh, and forms a slight digression into a new
key, as,
No. 29.
ui
^-M
i ^
^^m I
No. 30.
i ^^
-gg-O-
49
-^ ^r-^ ^
i I I
§s '^
5-5 §:-*§ ^
First inversion.
The seventh of the sixth degree has its fundamental on the sixth
degree of the major scale. In its original form, it consists of a
minor third, perfect fifth, and minor seventh.
It resolves into the second degree of the scale, and has the same
number of inversions as the foregoing, and is subject to the same
laws.
No. 32.
J J. J
$
I
r^
^
^
$ ^=f^
«q-=-
i
Sometimes, after a modulation to the dominant, the two sevenths
now before us combine with the seventh of the second degree, to
form a sequence of sevenths, leading to the primitive tonic, as.
No. 33.
i=at
iS=i,
,i f=^=^P=^r
r^ P-
51
The same formula, with the first inversion of the one followed
by the third inversion of the other
No. 34.
i=^
i :f=±
^
The same again by changing the order of the inversions.
No. 35.
^z
i 1^=^--
'^^
if^
5 - 1^ ^
a g -i
I
3. Major Sevenths.
the tonic or the subdominant. Let the tonic be c, and the subdomi-
nant f, and the first of these sevenths will be c, e, g, b, and the
second f, a, c, e. As with the sevenths above, we shall style
the former the Jirst major seventh, on account of its being placed
on the first degree of the scale ; the latter the fourth major seventh,
for being placed on the fourth degree of the scale. They are the
most discordant of the seventh chords, and of course they ought
to be prepared. They require an exquisite feeling in the compo-
ser, to be properly employed ; and when used with discernment
and skill, far from being harsh and rough, they strike the ear not
unpleasantly.
In their original construction by thirds, they are composed of a
major third, a perfect fifth, and a major seventh :
i
52
and a minor sixth. It is called the chord of the fifth and sixth,
^m
and figured t
and figured or |
m
f,
fori 11
^^
:
No. 36.
=1:
-ti — 4-
-s-
No. 37.
i fcp^^^^S 3^ s
^=z±
53
No. 38.
it
No. 39.
^^.
3^
SE^
5 7 7 7+ B
3. Passages of Sevenths.
We- know now how to prepare and resolve every chord of the
seventh, and we are accustomed to the manner of placing them on
every degree of the major scale. It remains now to combine them
S
be taken for the fundamental tone of a seventh
which c will
^
Let each of the following tones
i Se =i=
w -^
m^
i #:
^
55
No. 42.
3E
1^
^ 1—1 r-^r
^
f-^
i
In successions of this kind, the second inversion is not so desira-
ble as the others, on account of the fourth returning too fre-
No. 43.
i ^^m
'ZSZ
«
I
7 ^ 7 #
In the minor scale, the passages of sevenths are treated in the
same manner as in the major; that is, the leading note is disre-
No. 44.
IT ^m ^
#
t
w-
:t
^ iE
fc
1
At the star, the g is made natural by leaving out the sharp, which
here charactei^es the mode ; but at (f), the accidental is restored,
S6
thai the minor key may not be lost sight of. The same rule holds
good in the inversions.
When practising the inversions of such passages, it will be advis-
able for the student to look carefully at the fundamental tones.
As they should step a fifth downward, or a fourth upward, he has
nothing to do but to try every seventh, and examine whether each
fundamental keeps its required step, by placing under each inver-
sion its respective fundamental. An example will explain our
meaning. Suppose that we have to put the following example to
test:
No. 45.
i
^ ^
J-=-J-
^ ^^ t
''7
*
5
It is plain that part of these inversions do not agree with the funda-
mentals beneath them. The third inversion of a seventh leads
necessarily to the first inversion of the next ; i. c, to the chords
of the fifth and sixth. Now, if we recall the sevenths, at A, B, C,
to their original construction by thirds, we immediately find that
there is a foreign tone in each seventh, which does not agree with
the fundamentals below. If we take away this foreign tone, and
in its stead double the fundamental, we shall have the following
succession, in which every thing is correct.
No. 46.
- f gj o {-s *
rrpv 41^
i ^
^
m V ^ 7 +
1
We
For, every upper tone answers to its respective fundamental.
67
No. 47.
i
o i^^^ :Jz=rA=J=
zscz.
9iE^ S
i
T=«-
^
^ 5 6 5-5-5-5 5 -f?
No. 48.
'^S -Ma=Sz
,^^ — 7 7 +
58
m ^^1^^^^^
$ _^ cJ=>\g
§EEE ^^ -• iS-
No. 49.
^t^=i -^
r
J
:i=g=
k
i^
-e—fH=^ ^=F=^
,Sc:z5^ i
MT 5 6
-^JL J —
"^^
(I
^ L
7
'
T+
No. 50.
ts^^^^^E^ fc-^-
ii*^=f=«HBf^P?=PP^P? -r-"r
7
^7+5— ^^
7 7 7 7+5
iii
^,
f=rii£
<l,
^-u-^T=l^
^^ 7 7 7+5
59
No. 51.
—
# — %
r^ jk I
r nzzqr
5- » 7 74. 5 2 g S g 8
I
f ?-rf i^e»--—i-
W-
I I
I r !
I
j= r
•—=*-
E^
5 +4 l-V 5
PE^
..u^
_c_
^^-^^^
^ -s
IS*
P-
e-^
fe« #
'^ ,HJ°g|J"^sjq^gj
^S
f-f-n:g ^| P"r >
R
tt
6 6 ii
g 2 ^g 8 5 5 5
7+ 3
No. 53.
'^ "i
1—=y-
5~^
T^
3iS
r
^j—g-
~T"o"
1 =|g
60
^ J-rJ J-
$ I
^
S *
i
i ri #^
bsl bJ I d J
g I
1
chords, which serve to make the cadence plainer and more solemn.
This run of chords forms what is called by theorists a formula of
cadence.
No. 54.
i ^^3^3^^^^^
No. 55.
^m
-Sr-S -
1
i
-P—P-
^.
seventh, as,
No. 56.
i ^ i
62
No. 57.
'jL e) e)
63
i ! J A 4 J „ j-
1 i
o P-
I
-^ 1
No. 60.
!i
:^ g=^-g^
P;-e-—i=Hd '^o^ i^
^g ^ St '
g —= g
r
9^^=^
-s^
^*
"r~^ I
5- 6 jj
:i 1
f^rrTfT n-Tir T*
-p I
^^1 r-6 =f
No. 61.
E
I
J- z^
I ^ ' r
I
P
I f
F^
?E2£
,*^ B 5 5
g ffi=?
S
I s)
5 5
-r^*-
S 5 5
j=j=3JTfc=i:Jzzl
»- r.J j
I a i l
:
fcE =^::s=
7 + 5
64
No. 62.
-^^Ts
—"-
-s
r^ ^^
^^
>» a*
iS
=F 7+5 5 5 ^
4^^
a^jfe fel
J r j ,j ^ j
—
H=
3E
-rr—^
-7- & 7
=r=e
No. 63.
^^ i=ti: i=Ed=^
I > r^r ^f=r=F=
See ^
=S=i
-U-
=f=
f^
1—
65
iw ^
ite:
%fa^-gr
i ^== t-
i ?tteJa
^
In order to give the voices a freer and easier motion, this dimin-
ished seventh is changed often into an augmented sixth, as.
:gto|
i r ^m*^ fe
'-^
"n
66
Here, dji represents ejz ; and, no doubt, it is an easier step for the
treble than e\f, followed by eb. It becomes a kind of leading note,
which leads smoothly and unmistakably to etj. Here we think
it proper to advise the student never to give the voices, especially
in choruses, such intervals as require difficulty of intonation, and
skill in the performers. As we cannot look for great skill in those
to whom the performance of choruses is entrusted, ii will be
advisable to avoid carefully the following intervals : sharp fourths,
diminished and superfluous sixths, and diminished and superfluous
fifths. All these intervals are nothing but break-neck places for
chorus singers.
No. 64.
^^s^ ^
=J=
i T^T^^fr^
im
I 3^^
£
Some exercises will now illustrate the foregoing directions.
67
No. 65.
id^^hM^^^y^k^^^M^
rr' Tff f
s
r? r 1
1
I,
I
7+ 5 - -1-
S ?
^^Ei
$ I
I
^5=±^-=p=tt
9^=^Ef^=fy=y =^=^
-'- S|
^ TT
i
No. 66.
^^^m
^
J ^ j-^ J-=fM
-ir
—3^H3r:£
)-
§ij
i :^=3:
r—r-7
6
^
5
^^
6 5
r^r
7 + 5
i
68
No. 67.
i:J: J-
^ p I
'2_
i»-^'r i^d^d
?^
ate
J I
J
^^^^^^m jt
- 5 2 6
|J i^
i ^i^i'm-=^ tf
s'
s—^—s-
:s_ a r3 j2 -a tt«i : i5
F-e-
1 ^i t % I
No. 68.
I ±=1= f—i—•—E3Z
-J-"^eJ- t=tsx S
rrrr ^ f~
i9 >5
ite
AjLA^^^A^
i Se
-f F^ f
S3 :33i
^ E^ ^^
-f
t ^
Ssg I
69
:i^*^^ -r^
^ 6 6
^S?E3
p—rn^
;i
'fr^ f
^^^^^5-7 7
p g-
-I \^
f=-^
i 77
:^ g-
=r=F=P
ii^EJ
--=^f
=J=;i^W -i=4=d=
i T-r
M
i
—
-I
S2
frf-^r ^^ I T
^
% I \\~^
70
Half-Cabences.
In others, it is
^^^
indefinite, as for example, in the case of the pause,
^^
or organ-point. .
r r
As in the final cadences there are some chords especially appro-
priate to prepare the end, so also there are particular chords appro-
priate to prepare the half-cadences.
There are two ways to form a half cadence: the one direct,
Directly. Indirectly.
MiNOK.
Directly. Indirectly.
-p—g"- 7 7
71
Major Key.
-2=f==i:
i ^r-~r ^=U^^i-
t-J-
J— j-
^f-Tf"
^^^ CiSL-
f
--s=^
Minor Key.
^±d=E^
I
i f— I,
« S»- i
^^ f e.
-V—Jf-
f r
*^3=^
Thirdly, from the chord of the second degree, in both scales, as.
Major Key.
A
a
if m i -g— -
i
r 5 „6 5
Minor Key.
d=i
i;
:v-f-
1 g=lj=f
^
r c
72
Majoe.
j4 f JMIil^
J s
MiNOK.
'^
¥^^
5-
S
-
a
-
t
-<9;r
\l
Fifthly, from the chord on the sixth degree of the minor scale, as,
4 ftj
i
Sixthly, from the diminished seventh on the subdominant, and
its first inversion.
A
P^-IB^^^
-7- 5
%
The fifth measure (A) of the foregoing contains a fifth succes-
sion, which is admitted by some theorists as mitigated by the
superfluous sixth.
B
^ P=
^=^- ^
^^ 'W
& ^ 1
73
!^ *
Tf"
I- t-
-m
Majok o.
H
S
Minor A.
it as standing by itself.
scends one step, and forms a fifth succession, with the base. But
this fifth is generally permitted by the theorist, as being mitigated
by the superfluous sixth. In effect, it has nothing conspicuous or
disagreeable to the ear. On the other hand, it is very easy to
74
No. 69.
J=d=J=Tl^:
I ^M^^
^-[^^'''Tf
SEE
IT
I
Bf^= i
f f T
'
r r
f f I
&c.
'W
1—or—
^J=f =
— «
^^=
ill
1
75
This chord looks like the second inversion of the seventh of tlie
No. 72.
j=: ^=&J
^-Mm^
&c.
^
This fourth, being augmented, has no need of preparation.
Very often these two chords (#| and +|) combine together ; that
is, the fifth of the former resolves into the fourth of the latter,
which afterwards follows its usual way of resolution ; and this
No. 73.
^=--jq^i-^:^^ ti
^£^
I --^
gs ^E
w^
76
B
=t^#
:i
=F=P= zt=^
^
As can be seen at A, the perfect fifth of the fifth and sixth falls
on the sharp-fourth of the third and fourth, which resolves into the
triad of the dominant. At B, the first inversion of the seventh of
the second degree changes into the diminished seventh, as it has
been intimated, on page 67. '
1^
In the last case, the resolution remains the same with the pre-
ceding one ; that is, the diminished seventh resolves into the chord
of the tonic.
77
Haydn, in " The Seven Words," deviating from the above reso-
lution, has made c jump down to the dominant, thus
i :f=
^^^^E
17=?—^
^ r r T r^ r
J^i-J—J- ^
fr r r t rTrf
*=!; =t;=t=
78
f
=*4
S^^^^^^
^^=^i^^^==
BSE^ ^
E
5- 5 5
E^ SP^^ K ^ J 1^^ ly
T^ 7+5 6
S-7-
i
No. 75. A Melody.
(I
^- *- m M ^
[j'-^r~r-Y-"j-T-t
J V- :feES
=^=
J j:: J J J j^ i
:^^=r
^ ^^:
/L-^
^^
=1=^
44 i
S
^ J_r
d==^
f=g^r^
i il
-J^-
Pi
I
'*—-»
2 a
^7+5
5
I
E^^ =^
^
s
I
s *=j=
i f=^ £r+T^ -p i F^FP
^
0_. .tj-J3
^A ^ .^
^^ J
SI
W^. i n
79
i
i=i ^
=^^ =F^
.J—J_J_
i- .^i Jl i i^U
f
* P^^
l-i
f
N. B. — Here, again, we would advise the pupil to transpose the
foregoing exercises into several keys; and, after looking at each
formula of halfcadence, and practising it separately, to make a
whole of the different instances. Not to repeat tediously the same
direction, we urge it as a great advantage in point of rapid improve-
ment, whenever every matter has heen seriously thought of and
understood.
APPENDIX e.
MODULATIONS.
A MUSICAL composition is grounded on a certain scale, or key,
Of the keys thus resorted to, some are relative to the principal
key, others not, which, for that reason, are called remote keys.
A key is relative to the principal one, when it has the same
number of accidentals, or one more or less.
§ 1. Relative Modulations.
Recapitulation. —
C, principal key ; relatives, a, g, e, f, d, of
which three are minor, and two major.
^StSh- sto-
i W
i s<g- 1 fsSL
^—
'
I
in common with the tonic chord of the principal key. The minor
key, e, alone, has not any tone in common with it. We have,
then, called another chord into action, which gives us some con-
nective tone ; and for that purpose, at B we have used the chord,
e, g, b, as mediator between the tonics, c and e. About this mediate
chord we will say more, when we develope the remote modulations.
tive with the keys, f, d (one flat), as differing from each other by
i
^.
i f^ -rr^^r^ 1
r nr-^
;i * r^
83
i ^ Ei^^3
i^s^ ^^^ffe^
i m
a^i m^
No. 9.— E Minor to F. No. 10.— E Minor to D Minor, or No. 11.
:±^=^
^ ^
9
f=
iJ
-P—
—*--^
J iJ
AAA
ife
-i
p ^ p^g &
m
uJ-J-
4=^^
-JO y-fJ-l^l r^J-pJ —
I
!
^""^"^Tfrrrr-rf
J ,-i J J y -* s r »
1^ * f=
^¥-^
^
^^ij-wt^^u=^
i m^rTT'r
^
i yft
i^
-^-i*- i
85
No. 78.
?=^^ E^^
i:e=^ »^ r-r
^i^
-jg^ ^
ite
t2 6
^n i
ii ^^^^P=y=f
^^^ 5
g t i
No. 79.
fo=^-^
m ^-ii
I -W=^f^
-t— t-
ij-ij
^ fc=r=^
^^ ^
-I f » * 0-
--i- i
-^ ——
-i
I- '' — —
t— t— 1— '-I
I-
-^-is-
'« ^i
^ E^^
^F f
I I
EfgE
:ii
* -^ :£ i-i
P!iI^E
86
fe=^ ^ ^^^
I ^^^^^
J •- ,J J J J
j(
«i
nonachord and the diminished triad, both arising from the dominant
seventh. It is evident, upon considering the origin of these chords,
that they are endowed with the faculty of modulating. Notwith-
standing their relationship with the dominant seventh, the non-
achords are seldom used to settle a new key, and when used, it
The reason why the nonachords are less suited than the dominant
chord to perform the modulations is, partly, because of their being
overloaded with tones. This diminished triad is, in this respect,
more convenient to modulate with.
The seventh, derived from the major nonachord, and the dimin-
ished seventh, furnish us with means of modulation, each in their
respective modes. It will be advisable to resolve them into the
dominant chord, before getting the new key, as.
^^ ^ ^
-5-
must avoid the minor triads, c minor, and / minor. The former
might lead us into ej? major, JJ? major, or g minor ; the latter into
ab major, ^ major, or c minor. But we can change the dominant
triad into a minor triad, and pass into a key of which the minor
triad is relative. Thus, in the case of c major, by changing
g, b, d, into g, V^, d, we are at liberty to modulate into f major and
d minor, which stand in near relation both to g minor, and to the
principal key, c major, as.
I ^^
^^
i =£
i& u
This minor triad may afford us a proper opportunity of moving
from one key to others not related to each other, but related to the
principal key ; for example, in the key of c, from g major to
/ major, thus
88
Na. 90.
I
i El^
&c.
6 &
=E
* I ft
No. 81.
i
J;^
i
^^^=^^^
4- --^
&0.
=t=ti
6
-5-
^^
»
5
1^1? t=tt=t
-*—y-
No. 82.
4: -t_4-
zJz^t
i :S^^^
rn^- ^
^ gnrr J^ w=¥ 6 5
^^^^^^m rr rfrrfjrrrr^n'
'
5 - - 5 8,85 - - 5 5 5 57+ 5
89
^^
--fffmwfy^fffr^'
3^ -ei-4-,
ititt
5 ta 8
m 6 6 5 =f
i
In this example, the nonachords resolve into the dominant
seventh, before touching the new key except at +.
2nd
VroLiif.
eS--^
^
Alto. ^^ ;>p
^
Bj^so. 9^^4^##=^#tf:=te =ztl
g. it »
i
i 1-'='
s^Ll ^
^oco f
^m
i ^
:fc:ffi=Eje
-M-
pocof
S*-T5<-
—
=?s
-m^
0-^ ^f^ ri fs rp"
90
D E
fe p -jg-
-•-^i
4
I ^iki
'
—s —
Ifefe *^=t=iiz± -<s—±^z — TS—i- —I 1
— ; o s fi-
ri J-J-
1 H«-»-
P ^^^S^^ ??q
9^ ^^ Tsi-r—;:)-
^
=^ —•- -
i (2
n^^f^ff^ f^ -f \ f f —e> gj
^
f^^^gi^^ -(Sl 5»-
« ^^^^J^=J^Jdgi:
12- =?=*=?*;
pi: F?5:
^^ ±e -Ot
^^ ^^ i=±^r-T ^^
\. ^ r>rf,f
7^^^-
tit
,
-
P^ ^g^ -g
— z
^
91
^^^^^m
i » d \ti J> — mmi^^s^^
1-*-*>-*-
a a
-M-
AoL Sg^za
pign^- ^l^
^
(t.
-P
i
PP=F
Pg &
This piece is admirable for its simplicity, and remarkably fit for
At the beginning of the second part (D), Grluck again makes two
small modulations, one into a minor (E) and the other into d major
(F) ; and finally, (G) a formula of cadence in the principal key is
introduced, and the composition brought to an end. This is a fine
specimen of relative modulations. It may be seen here how the
§ 2. Remote Modulations.
No. 83.
From G Major to F minor.
^^^^^^
Sla ^ b» >
3
., Ug
6
I'P
&C.
93
No. 84.
From C Major to G Minor.
^^=^^i U Sis-
=fe
&0.
^=f
Moreover, in every scale there are three minor triads. Then, if
after the principal tonic we use these triads to serve us as connect-
ive chords for the dominant seventh of their respective major ones,
we gain three remote major keys. The minor triads in the key of
c a.Te d f a—e g b —a c e. Their corresponding major ones are
df^ 'i—e ^ i—a, 4 e-
keys (three major, and two minor), which are based on the follow-
ing degrees the major on the second, third, and sixth degrees
:
No. 86.
A
I ^ \
4~m =?=F
&c.
iS
w
We might proceed still farther, as,
No. 87.
B
^
^=^^
i ^
WM Efe£
W
The minor triad, g, Jj>, d, through its relative, e^, g, J[?, reminds
us of which we are led by changing this
aj?, to triad, e[>, g, h^, into
the dominant seventh of the key, a^, major.
some minor triad into its major. Here for instance, the triad,
c minor, is nearly related to the key, eK Let us then choose this
triad, and change it into c major. Our return to g major will ^'
'
surely accomplished in the following way :
m ii^^
TT f
iM4
M
rr
asE =t
The minor triad of the second degree may lead to e major and a
major, thus
No. 88.
-ste- ^fe
E Major.
Iee M ^ j^fesEEJ
96
^ ^^ #^^1
A Major.
ite He
iBi= l
^
The Minor Triad on the third degree to major e, minor cj|, and
minor
/jf.
No. 89.
^^^^^^^ P— — 1
P-
E Major.
1^
iai
5
I ss i J
fe
; '=31
5 ^1 i
/ minor.
No. 90.
m^^^^^
B1| Major.
9S=y
T m^.
"!
97
^
s^ I
*
r «PP
4 J
m
i f^ «i
Fj Minor.
=r=f
No. 91.
Fare-well, thou bu - sy world, (A) Pare-
Jfcfc
1 r r^ i J- J J^AJ i
=EE?=
p-T—F=^
Fare--well thou
^r T—
bu - sy
r-
-vrorld, fate-well,
I^ +^^ zk ±
i %H^^^ 1 -^.
^
:li :^:^A :^A
^= ^- Trr^=^ ^r
fere- well, fare -well, and
-^ ii J>
may we nev-er
^
A :^A and
meet a -gain,
98
rSzzfccd- -I-
=^ J
i
i -.9-'
I (+) r^rT=rT^
we meet
f frT.
gam.
may nev - er
:^=^b fe
and may we nev - er meet a -
^
gain.
Here the alto part being stationary on gtt ( A) for several measures,
prepares the ear for the coming key, and the major triad, a, cjj;, e,
No. 92.
1. AND 2.
Violins. I
ViOLON. I
g*3
D.B.
«
99
m :^^^^ ^ J
aft
# t^ f
«!.
^! &c.
No. 93.
^^^^^^
m A
li T^
s^ Ft4=F^
fe^^
100
-^^
=?=hF
I
J3
F? / ^ r &c.
i^ite^
i?^ ^^p ^1
2nd. By keeping on the third and making it the fundamental
of a new tonic, we modulate into the key, a major third above the
preceding' one, thus
No. 94.
^^E^s^
i^^^^^
^=r4-
Itt*
t-
3rd.
^ i
By
lu
keeping on the
ft
fifth,
'^ris ^^
and making it
^iSr
f i
&c.
a new tonic, we modulate into a new key a minor third above the
No. 95.
^m f=f-f—^^f=^
^=3 -P ;
fe
I f=f^-^=*f=p-t£n^
Ei
I
:^s^=f= M^
^^ -0~n-»-
101
No. 96.
i
4=^4=^ #^^^ ^-
^^ ^g^
?s ^a=i^u -f^-fT-
-^-^
J^ &6.
iS :e^
=F=i«=
5th. After every major tonic we may get the fifth downward
as the fundamental of a new minor key, thus
No. 97.
=5=t^
i^ ^?- — —r5^ -
i EE f^— f^
-,
-d ci
ifc^^^^^ T"
T=^=?=
"f—
zfzitS E&
p- 9e-s — »-
i=Tl^
.l—
mi^=F^^^#^^ ^ =fe
102
T r r
ptt E
6th. After every tonic, we may start from one of its tones, and
by a melodic design, or octave passage, reach any key we please,
No. 98.
fe
A \-
i=^
i f^m ^^i^±
frr-r-u^
-^-
Cres.
i J.
ggP^^
^
m^^^-=
U_l
m
J k
Ep-p-=TPp=p_^
J. J.
~-r=T
J.
103
No. 99.
fe^Efe^ttteSE^fe
I1 Eg
^.liA
^mi S I
i
^_i.
i j-iL-i
&c.
m
J.
^e^E£ t ti
which all the parts seize upon the new tonic, and complete the
modulation. But this repose on c is quite arbitrary. We might as
well have taken rest at el', in the beginning of the third measure,
or at a^, at the middle of the same measure, but not before et';
for the run would have been too short: it is proper to settle the
withoHt retaining any tone to serve us as- a link between the aban-
^
doned key and the new one, as-:
No. 100.
i
I
i ^g- ^
i ^
Em•-4=F^ ^
J t
different sense.
I ^ ^ ^31W \rsr
No. 101.
WD .^ m3^^Q. * I m I
~IP^
feU
r r g^ T
2 6 T g
I7
I
V
7
I L 7 I
T
[!
? H LT
=^ ^ir=^=p^j=j==^J2^^=Z^i pti^is
I^ ^^ 'I
1
ii^
J
'%
l^i
^I
>J
'^
y^
H
[7J
k
J
it
sJ
6 i * - %
m «S f'
""
No. 102.
dEE^E^dfe^:
fei
i =^
a -^ iE
i f—fcrixiq
F-+r^
z ^
§i ^gi—
Lastly, we proceed to some other modulations, given by the dom--
ipant seventh, deviating from its usual course of resolution, as
107
No. 103
iESa^sEi^SstS Muting—
V* ' » i_t \Lt
'^'^t-t- i te=^:
u
pE^gj^^ai ^ ^=^ fe?=:.=qh?==iCi«:
M^iJ: ^tJ=^:
i f =^ KE I
?=SS:
I
T
=i^
i-±
I
^¥ie^^
rf
?3^ i I
P^ ^e -i-y-
^^ \
Mi^\% II
f^wd^t^i^
Let us now enter into some other interesting combinations of
this chord.
^^^^^=%
We go from ic major to e major.
fes-
i ^\>sf>-
i
From major c, or major eV-, we go to major g.
3d. The fifth being unaltered, if we elevate the leading note,
the third and seventh, a half step, we gain a dominant seventh,
whose tonic is a whole step below the former ; as.
te^
i izs*: :# ^ 1
We pass from major c to major 5^.
^^- ^
From major c we go to dl? major.
list. The seventh ascends a half step, and the three other
tones a whole* step ; as,
-^qS^ i
we go
f
From c major or minor to d major.
2d. All the parts ascend a half step, and lead from e major or
minor 'to g major.
^^ ^
gs^44^
i i
i^
i ^^g-
A
S =F
3d. The seventh ascends a whole step, the leading note a
diminished third (or enharmonic step), the third a half ^^Pj and
the fifth a whole step ; as,
3 W
i ^^^
from major or minor c to major aV.
4th. The seventh ascends a whole step, the leading note a
half step, and the third and fifth a whole step ; as,
^^^^
from major or minor c to
f major or minor.
Ill
1st. The seventh a half step, the leading note a whole step,
the third and fifth a half step ; as.
^^^^^
from major or minor c to d major.
2d. The seventh a half step, the third a whole step, the leading
note and fifth a half step ; as.
i i2=?= E^ =g
^=te^ m
We
i ^^m m^
-t-
^^5fe
i J25»=
No. 104.
Upward.
^f^^^
112
^ \b' ^ i fe.^
They may be carried out with sharps, if some sharp-tonic is
No. 106.
Upward
i
No. 107.
Downward.
^^^^^
In No. 104 we are led to the key of/ major or minor; in No.
105, to the key of i^ major or minor; in No. 106, to 6 major or
minor; and in No. 107, to a major or minor. Although the dimin-
ished seventh leads to the tonic, yet the common practice is to
change the last diminished seventh into the dominant of the same
fundamental ; which is easily effected, by lowering the seventh a
half step. Thus, for example, the last seventh of No. 107 can be
changed into the dominant of the keys minor or major a.
^m. ^
If ^m
In these sequences, all the parts ascend or descend by half
steps, so that we are enabled to ascertain the regularity of each
part, by only glancing at the succession of the semitones.
Enharmonic Modulations.
/U-
i "p-
is equal to
=5fe®^
equal
i -^ is
-I Its: or 11^
114
i -^-
is equal to
i 1
The Diminished Fodbth, The Majob Third.
is equal to
I orHlt^h I -JT
The Peefeot Fotteth, The Extended Thied.
i
The Shabp Fodeth,
t is equal to ^Bk-
*
The Diminibhed Fifth.
i is equal to
I fe or-
P ft*
^ is equal to
^= ^
The Peefeot Fifth, The Diminished Sixth.
i is equal to
Wsi 1
The Extended Fifth, The Minoe Sixth.
to^^
I ^ is equal
or- i
The Diminished Sixth, The Peefeot Fifth.
E^
i IS*
i <* or-
pr I
is equal to
^ ^
-bs-
i -J^
is equal
-i E^
i <*>
i is equal to
i =^s
115
Of these enharmonic changes, the most used are those of the ex-
tended second, of the major sixth, and of the extended sixth ; the
first being changed into a minor third, in the enharmonic combina-
tions of the diminished seventh ; the second, becoming a diminished
seventh, and the third being changed into a minor seventh in the
transformations of the extended sixth. We have liliewise mentioned,
in the above list, the interval of the diminished third, so pleasing in
melody, and, perhaps, improperly banished from harmonic uses. We
had two reasons for doing so: first, because the diminished third is
ished third in harmony, did not scruple to use it, and most happily,
iu his Maometto Secondo, in the overture to La Gazza Ladra, and in
several other works. The mischievous Italian seems to have pur-
posely mocked at the prohibition. So great an authority should be
sufficient, in our opinion, to set aside, as an antiquated rule, the
i w-
116
W^::
No. 108.
C Minor.
i?=^^ a •
g~
I :g= -m:
r r 'i r-^
@fe s— '—•--(a
—
JS
-I
'' ;^ e- ^i 'I
iEE ^^ i^
Eb Major.
fet
I
i
'^1 I
^
^ UMi=^te^-4^
= i
5
^
r 'si
°
e
S I
l^::
1
? g
^
by the change of both g^ into oj?, and of i into cl*, we gain the
diminished seventh.
^
117
^^
Trrr
J:^
n
^^
1
ige ^ ^
I - ^ S-l
G[j Major.
i I
id=^^=^i^ir^'=T^
I
fe f^ ^5
t-F^I
i
is enharmonically
No. 110.
^m
A Ma]or.
E
i I
m
^^
fct
:S--3r^
=?==
i%=F y=
f
118
F^ Major.
ite
^ *s^
i^
^= w a^i^
«
- s^
^ jipT^y
A^
ss iS
No. 111.
MOBZEATO.
119
No. 112.
i^^^^^fc
m^ ? ks-
wishes to give his work a more lively character, the keys with
sharps may assist him in carrying out such a design. Flats pro-
duce an opposite effect, by imparting a gloomy tint to the har-
that the extended sixth carries with itself a major third and a
No. 113.
From C to B Minor.
^?3=^i
^ wI I
or
pW%.^=4t
u
i ft^
1 m i
From G to A^ Magor.
i^ -o-e-
^
#^^3==£
^ ^^ mS I ?
From C to E Miyor.
Vr-h^
I
i D =^P I
9i=f^
M^ Ij
J l
~^
J
121
At B, the same change has taken place, with this exception only,
that the extended sixth (minor seventh) resolves into the perfect
cadence of h major.
turn, a dominant seventh. In this case, the sixth degree of the pre-
ceding key becomes the dominant of the following
No. 114.
i:
122
m i4 ^i=i
i
I f -fTi"
r 'T
§5tt E*^ zoa i
At the seventh measure, the extended sixth, after being heard in
the preceding measure, in its regular treatment, changes enharmoni-
oally, and brings suddenly the harmony into the key of d|? major.
This, when properly done, is susceptible of producing a very good
effect. These few examples are enough to give an exact and
sufficient notion of the above chords, so far as they may be used in
performing enharmonic modulations. They are capable of produc-
ing a great variety of effective modulations^ in the hands of an able
musician. We need not dwell any longer on this subject, and we
shall now touch what may be called
No. 115.
m^^^^ -•—p-
-r-r-^
123
$
^-J^M
ffV^TY nff
g?=yTr^=
-4- 5
No. 116.
pg^fe^^^i^^^i
J.
.Jz 1^:
Tr
1^
§ffi ^^^- S5 s Efe £:
#
At the end of the second measure, the three tones of the chord,
fflj?,eK take their corresponding enharmonics that is, the chord,
c, ;
ffll',eK becomes g^, J|}, dl^ the dominant triad of cjf after which,
c, ;
No. 117.
^^^^.^^^M
i ^^^^^ 5^E
'CJ
124
^.^^^^j<jS^
i^p^^WN^
£MXn
ig
1^ ^^^^^^^ #= — i^—1---^— - — r-t-T-
No. 118.
I ^^h^^d I,
-^-fi
I I I I
»& =j-r
' '^ '
I
p
6 s r' 5 r"
m -rr
±^=^
^^^
^ J :^
9^M E^
^^m^ ^^E^^
J
±
I
=w :i=i-
ji i 44i:^^J-i
•g
§i ig~
5 5 L C 1 (
E ^I
125
really becomes the leading tone of the tonic, a half step higher.
For instance, from a{» tonic (being mentally changed into gji) we
can immediately go into major aj^ (three sharps), from dl? major to
tit] (two sharps), and-so-forth. An example will illustrate the sub-
ject.
No. 120.
^ :l d. ± A
^s J..
126
m fc=d:
mm t" _ 2 6
4-
Here, the three tones, h^, next to the third measure, are really the
leading tone of the following key, h. In such occurrences, the
singer who has to perform' such a part as that of the treble here,
never fails to sing these three tones, as ajt ; and then the partners
of the treble mentally fill up the chord, counting the tone of the
treble as the third of the dominant triad of hh major ; the whole
party doing so, that they may not mistake the pitch of their respec-
tive parts. In the execution of enharmonic passages, good singers
realize in their singing the tone intended by the composer.
The same modulation can be carried out in two other different
ways. First, the flat tonic may be made the third of a dominant ;
No. 121.
In God's word will I re - joice, In the Lord's
i ^=r^=;h=hf^i
I¥W^ i^ =#^
S3 -^^
r ^
Eg
In God's word
.
will
— I
I""
re - joioe. 'f
word will I comfort me, In the Lord's word will
m ft.t
I f==F=pr±^T=^PT
fti^ S^i
=F^
.i_i^_ lA^
sa
jgpg^E^E^^f fe
?
-^z~f~w
-d- -d-
1
Si^i^
w
—r^
|i
-J-^^r-4
^^^^
i.fe^^J
^-
m Jw _i
J'
^^^^S^
•-^ J J^ [|j
e^ ^v
word will I comfort me, In God's word will
S s^
=e^
me,
J J
i^E
J
At the fourth measure of this example, the tonic, e{', becomes the
third of the dominant triad, 6t[, d|, /j|, and the harmony
passes from el' to et|. The current of chords leads "back again to et",
They will give him more information on the subject, and modula-
tions in general, than heaped piles of volumes on harmony'
The Pkdal-Point.
On pages 217 and 218 of our author, the origin and object of the
Pedal-point have been fully unfolded. It remains now to say by
what proceeding we can procure a pedal-point. The proceeding
is this : harmony above the sustained tonp should be considered
the
as an independent whole. Viewed thus, it must have a regular
base as if it were to be performed without the assisting pedal.
This is required, because the parts above contrast by their motion
to the stillness of the immovable tone below.
Now, from what source shall the chords be drawn ? From those
keys that are nearest related to the pedal, avoiding those in which,
if used, the common tone would have to be altered, either by eleva-
tion or depression. Usually, the sustained tone is the fundamental
of the first and last chord of the harmony. The following is a
sample of a pedal-construction
No. 122.
^A^^ -^Ai^^
^ r^TTfTf^ ^=^- Ti
g£E
5 4 '. 5 5 -
i t -
irh^
E^ F5b=t
129
; 6 U
I i
-o ^
TTa
i 1 1-
f= I f- —g=aP=f
r
^:
No. 123.
j=j^^d=j=d^.i=M^=j=^
i ^f=n=ffTTfv^r^~r~r--
130
i
*
a „9 8 „9
)i »i »5
i
^ =«i==» i^
z ^
I I s :^ s
»l
The pedal may also be properly placed on the tonic, and submits
to the same rules which have been just laid down for that of the
called the inward or middle pedal. It ought to be, with few excep-
tions, an essential part of the chords, which is not the case with the
outer pedal. The reason of this is obvious. In the latter, the
remoteness of the sustained tone mitigates the harshness of the
tones foreign to the pedal ; but in the former, the discords dash
closely against each other, and nothing indemnifies us for these
No. 124.
-/-.-^-^i
I
» —»
ih ^=±
~©
^ — 7 r » •—r-3^
i --^-^
PLAQAL CADENUB.
132
At the seventh measure of No. 125, the harmony leads from the
suhdominant to the tonic, contrary to the perfect cadence, of which
tlie conclusion is from the dominant to the tonic. We call the
tive.
No. 126.
^ m^^w
f
rwn
^E^=?^
? i
^S44^^44m
^3 1—1
f
We have said that the inward pedal is placed on the dominant.
Nos. 306 and 308 of our author, in consequence of the signature,
seem to have the sustained tone upon the tonic. But the ib in No.
316, and f^ in 318, change these tonics into real dominants, in
spite of their ending upon the tonio.
^
.snj J
g* gi fli T
^n.^:
^s
This is nothing else than the dominant seventh stretching over
to the tonic. Such a cadence is comntionly made use of in the
Andante and Andantino, but seldom in the Allegro, and the like
motions.
APPENDIX H.
JO. -2:
i z^sz
i
APPENDIX I.
and the chord to which it stretches must cease, and the suspending
voice or instrument finally enter upon the proper tone of the chord.
No. 128.
i ?=E= 1 %^
f i TS- 3
r
^.
i r
s^=f=
r
f
At D, the preparatory tone is longer than the suspension ; at E,
it is equal ; at F, the suspension fills the whole measure, and all
i
No. 129.
^-S-
^ =j -J4^i-^
*
f I
136
EE
No. 130.
-^
^ ^^^ &c.
P^^
4-
r
W i
in which the preparatory tone lies on the accented part, and the
suspension falls on the second beat, and so escapes the accent.
In the common double time, J^, 2> and .2., the first beat is
accented, the second is not. In the quadruple time, the first and
third beats are accented, the second and fourth not. In triple time,
the first and second beats are often accented, the third is not. In
the compound measures, the accents are distributed in the same way
with the simple ones, in quick motions; but in slow movements,
such as Andante, Andantino, Grave, Adagio, &c., the suspension
can be placed on quavers. When there are four of them in a
measure, as in 2 ^ the accents are divided, as they are in the com-
mon quadruple time ; i. e., the firstand third are accented, the
second and fourth are not. In compound, A, A., -g-, 1 2^ jn
which the ternary division of quavers takes place, the accents
are distributed as in triple time; i. e., the first and second
quavers are accented, the third is not. What is said of the
quavers applies, of course, to the crotchets in the compounds, such
as -6. and -S. ; but they are less used than the former. Examples
137
Na 131.
^ •+^=^
1
But the next
No. 132.
i ^^^^^^fe
is an example of regular suspensions, and agrees with our direc-
tions ; for suspension does not lie in the fact that a tone of a
chord stretches over into another, to which it is not indigenous,
*
but in the discord itself.
notions now familiar to us, it will be ;p'lain that they exclude real
No. 133.
=w=
ii 1
ia; ^ ^
¥ ? i 1 1 ! 7 ? I ¥
No. 134.
LJ-
i m fci
I I
^m
fesHg
i ^ i ^f ^
r
which represents exactly No. 134. When passages of ascending
dissonances cannot be traced either to the pedal or to the appoggi-
atures, they are inexplicable. We should remark here, that the
great masters, in the treatment of voices, have seldom indulged in
139
Sixth.
—"When a tone of a chord is suspended, it can never be
introduced simultaneously with the suspension tone, except when
it forms a ninth with it, as when the fundamental is suspended in
the upper parts. And, even when the retarded interval should
have a necessary and determined stepping upwards or downwards,
(such as the leading note in the dominant seventh, or the dimin-
ished triad and the seventh in all the chords of the seventh), it is
No. 136.
A I
-^ J
I g 6 s -
I
8
able :
No. 137.
^
^ r r
for there exists a succession of fifths between the tenor part and the
140
not more admissible in the former case than in the latter. We will
have it correct in the following
No. 138.
^U—^
i
Here also
No. 139.
there is
m kh-«
ff
Jf J
rff "W
an example of wrong suspensions, as they arise from a
,1
JtJ-J
Thus far we know only what suspension is, and on what condi-
tions it depends, having postponed its use till we became acquainted
with its nature. Now we have to proceed farther, and to do so
methodically, we shall use the suspension, first in the
chord of the sixth, we advise the pupil not to suspend it, unless
the suspension tone be introduced simultaneously with that sus-
pended at a distance of a ninth, thus :
No. 140.
4^
i *T ST
g
141
No. 141,
I 5
^
No. 142
I 1
In the second case, it forms a chord consisting of a major second
and perfect fourth, called f z i, as
No. 143.
i t r 7
When the fundamental is suspended in one of the, upper parts, it
No. 144.
i 7^6
142
No. J45.
When
^
the base-tone is retarded by the base itself, it forms a
chord composed of a second and fifth, called | S :
No. 146.
& TSP 1
No. 147.
mi:^^^^
f r — f
No. 148.
143
called g *:
Ff
•
V r r
^^
No. 150.
_J_j J i J^—Vi
I
—
ite ^^
i i
I
J
-
i-—-i
4-^^ M 4-
(I
-?^-+
f r
-i.-^
I
mr r
r
ifcrp:
I "• - %
144
^^^^^^
f ff r
E^^
f f ~Lrf f
-^ — »-
is ~^ 9~P ^ --f=^
^
I I if
6 ' ^
i_ J A J—r^
i^ i=
f r r f r r I
r r-
7 6 7 6 5
^S I - -r
Q jT^=bJ J J r
=i=^
I J |
-r r rr •
^ffT
^^^ 5 - e
p £
-7-
^^^ I %
^^^M ^^
rtf^ r^ s
g «t n i""
fii i
^^* ? sj
^
I J? I
E^
i EiE
-^T f^^ i
I5t=i£:
145
No. 151.
^^ § e
7
^
+ 5 -
4 3 f
^^^ rrrp_i.
1 -
J
*
^^d
^r
i:^r
££ g
>l^ij
^^ d^
fTrf==trn^^=^
iE
- ?- e a - 5-
i g
iu^^^^^ T^=rr=^
^ f
^r 5- 6
5-^j,|
^
I
never retarded in the parts above the base ; and the reason of it is,
±
i l f-
resolved to the seventh. But the suspension of the fundamental in
the dominant seventh is sometimes used in the base itself, and this is a
real suspension.
^ j-
i t
^ ^
In the construction of this suspension, it is proper to remove the
suspension tone from the seventh in order to avoid the close dis-
sonances of e, f, g, as in the above example.
The suspension of the third gives a chord consisting of a fourth,
fifth, and seventh, called Z chord
^^
i *
This suspension is the one most usually employed in the domi-
nant seventh.
147
P t
§ 1. First Inveksion.
i ^ Tgg-
-S M m.
i ^=
T
ss-
5-
5 I
4 3
s
1= i
)
i -r f I
§ 2. Second iNtfiRSiON.
i—^ I a^
j^— ^^-
i ^-.
J=
P =t:
I*
§ 3. Third Inversion.
?
i^
The suspension of the fourth gives a chord consisting of a second,
fifth, and sixth, called S :
da^E^
r
All the suspensions which can be formed in the dominant seventh
can likewise be used in the other sevenths, with only this difference,
that in the latter the fundamental can be retarded, both by the
upper parts and by the base itself. So, we do not think it neces-
sary to enter upon any particular explanation concerning these
sevenths. All the foregoing directions are enough to enable
the student to use the same suspensions (as above) in any
seventh whatever. We will now give some exercises of the sus-
pensions in the sevenths in general.
No. 152.
-^^-^-^ \- J^J J I
ft ist
I 'f^^'
=iJ=x^ i ^
i
J. I
ga
m ^
H 'i
f-T
S6
150
AJ-ii
^ -r^-
^ I Is
d=
No. 153
ANOANTS.
^5
i ^ •?•?
urn- ^' T^-
a^^ ^m £=5
^F??c
il5-
^ss;
ni
^M'^^-
^^-^ atitf ^=Srzi!i
-S-T* ^
T Tt
m ^ ^=^
2^ ^m ^^^^
^^
No. 154.
-J^^ E^ -Jc:i
^
iE
!!
151
J~j_4-J^-^-j_J-j-,^-
J— J J ^ iJ
^U-^
— ^ -SF—
, , !
i< i
iT r-T r-r-r-r-
p^^^^ ii
S If
We refer the pupil to the remarks under No. 151, and exhort
him to ascertain here the suspensions made in the sevenths and
their inversions. We would induce him, also, before he reads the
exercise No. 153, to look at the previous direction, No. 4th, on the
compound time, (page 136.)
^^ J— *:
i t !|* *-
t Y
This suspension is Very commonly found, and satisfactory;
it is even more elegant to use that chord with the suspension.
152
3. Double Suspensions,
^
the opinion of Reicha, in his treatise on harmony.
'A J
i
This suspension presents itself to us with two different features.
First, we discover two discords, g, a, a ninth, and c, d, a second.
The second feature gives us likewise two discords, the same ninth,
The ninth alone, combined with another discord, can give room
to double suspensions in the triads. In all the other instances there
can be no double suspensions, because only one dissonance can be
had. Hercf
i ^ I
)
we have two tones stretching over from one chord to another. But
the tone a, of the chord f, a, c, prolonged to the following e, g, c,
continues only the whole chord f, a, c, on to the beginning of the
second chord ; and g, next to a, the intended suspension, instead of
introducing a new chord by resolving a, is, by its shortness, rather
.1—i-A.
J J- ~J J -J
1^=^
I !
EEEfc ^-
p
I i»
V:^r^
^m ^^tSz^:
^
i
-i^-j- ^ i
i ^TT—r— ^ f
m i2=5=
6
I i ^
m
(7*)
154
No. 156.
^
§fe^
_ 8
ll! 3
^=J=4 4-h4
^.Z^ %
"^TTT I
^ .
1 S
^^
rrTF^
II
f^^^^^^g
5 6 5 _ 1^ 8 5- 5_ 5
3
r r F f
*
li 6 -7- 8 »-
No. 157.
\k ]. . B
J==^
i
the/ (at A) of the treble ot^ht to resolre into e of the chord c, e, g;
155
and in the like manner should the e (at B) resolve into d of the
chord g, b, d. Both tones pursue their prescribed course ; but in
the meantime the chords c, g, and d, f, a, have changed into
e,
a, c, e, and h, d,
f; for it is sufficient that the resolution is effected
in the proper tone. The chords do not influence it. Here, again,
i f 'r °c-^i
I
;i=4
i *f=^
tion had to take place on g, b, d. But the base changes its course
from the dominant triad of c, into the first inversion of the dom-
inant triad of a minor.
No. 158.
=i5 &e.
f f— i-
But with the supensions we can use the same succession, in which
the ninth occurs stripped of the sevenths, and steps more freely.
156
i
^5 ^r-A S=-st
* °
•
r '. f '.
f F
or
or
5-9 —
1
6
&e.
-^- -i
&a.
f-
5 9 5 9 5
-«=?=»•
'h-J J-tJ j^k
i rf
The resolution of the sevenths can also progress from major to minor
or extended sixths ; and from minor to major sixths, and vice versa,
as:
1^^
i i^
r
s
!*
i-=d
¥=¥
^
From the above examples, it results that the base can take its
157
^^^^^^^
A
I
"
B
%
r r-
5 « 3
^^ -'p-^t
^^^^
ite m i
'^ i?
^^ m. i
m^ 1=
^
158
No. 159.
^^=^ 1s>-^=
^m t-:^
No. 160.
^ ^^
r^
^i^Ti ^ ' s '
"li
" i
159
No. 161.
i iy^^
^ I
f
No. 162.
^_ ^F^
i IP g- -S)~TSr
u
mpE^^i^i^-r^t^
- 3
mI - i
m^
&e.
No. 163.
sf^gr^l^=^=^=
^^^
I
^^
But in the last case, if there were an orchestra, some of the wind
instrument parts would have to restore the suspension with the slur.
This has a good effect. However different the No. 163 may
be from No. 162, and \he latter from No. 160, in all, the sus-
pensions are equally maintained entire; and though, in the No. 163,
the measure is changed, though the accompanying parts differ
ing ones. This serves to show the student that a musical idea can
be developed and varied in its form, and yet remain the same, as to
the harmony.
161
I F ^ i=3z
I
nr^P^
iilz ^— -f- £^H' J^.T?fl
1^
^
J=^^=S5g^i=rf^ *r&fc—1-
i
.i^^^ itE tz i
6
^
^Se^
-rmjr
9 6 9 5
jS-'Q
^^^^iii lyJi 1 T -*T-'
G a
s^m 5 5 7
4 +
5
feEE^;^;
162
^m
No. 165.
-J-i^J J-rJ J I
^ ^-y-^-
Ie
I fTFT^^
-^1
-<=-
3^
J-i-^
§5 -•=4-12-
g "
I
i;iLL ,
j_i j , =^^-
I f-r^rrr,^rTTr^
^ 1-^3 T &5 i 7 - l± |«
i
I
No. 166.
P-^^-f^^^
s E5=i:
-I—I-
^^-s^i
^^S^^"^^ f^
iS^^^i^^^^^ 1= r t- -I-
163
P
k4^
^r^rfx^^'
-^ ^^^^^
iS^^
2^3 3^S^^=§ ^E±
tached by Beethoven.
tt
s F?= --ft
l,_p±,,-^ m
For the eye, as well as for the ear, it is impossible to discover
any suspension.
The tones cjf and djf form evidently an appoggiature, the one on
itt, the other on cj{. The figuring of this melody being the equiva-
lent to this
p^^^f^^m^
since the appoggiature takes its time from the note which imme-
diately succeeds it. Now the melody does not undergo any altera-
tion by being reversed, and being transposed from the treble to
the base.
'^^^f^^'^i
fe
-
^ &c.
9^~J r =^
which begins the second measure, and arising from the retained a
of the preceding chords, does not form here any suspension it ;